{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1933\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=5","prev":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1933\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=4","next":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1933\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=6","last":"https://arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1933\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026page=14"},"meta":{"pages":{"current_page":5,"next_page":6,"prev_page":4,"total_pages":14,"limit_value":10,"offset_value":40,"total_count":134,"first_page?":false,"last_page?":false}},"data":[{"id":"virmu_repositories_2_resources_44_c01_c01_c1774","type":"File","attributes":{"title":"H: General","breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_44_c01_c01_c1774#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_44_c01_c01_c1774","ref_ssm":["virmu_repositories_2_resources_44_c01_c01_c1774"],"id":"virmu_repositories_2_resources_44_c01_c01_c1774","ead_ssi":"virmu_repositories_2_resources_44","_root_":"virmu_repositories_2_resources_44","_nest_parent_":"virmu_repositories_2_resources_44_c01_c01","parent_ssi":"virmu_repositories_2_resources_44_c01_c01","parent_ssim":["virmu_repositories_2_resources_44","virmu_repositories_2_resources_44_c01","virmu_repositories_2_resources_44_c01_c01"],"parent_ids_ssim":["virmu_repositories_2_resources_44","virmu_repositories_2_resources_44_c01","virmu_repositories_2_resources_44_c01_c01"],"parent_unittitles_ssm":["Director's Correspondence (RG-01)","Series 1: Director's Correspondence","Series 1.1: Early Directors"],"parent_unittitles_tesim":["Director's Correspondence (RG-01)","Series 1: Director's Correspondence","Series 1.1: Early Directors"],"text":["Director's Correspondence (RG-01)","Series 1: Director's Correspondence","Series 1.1: Early Directors","H: General","box 33863 Box 36","folder 20","Item RG01.01.1.1774"],"title_filing_ssi":"H: General","title_ssm":["H: General"],"title_tesim":["H: General"],"unitdate_other_ssim":["1933-1940"],"normalized_date_ssm":["1933/1940"],"normalized_title_ssm":["H: General"],"component_level_isim":[3],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Director's Correspondence (RG-01)"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1776,"parent_access_restrict_tesm":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance. ","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809)."],"parent_access_terms_tesm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"date_range_isim":[1933,1934,1935,1936,1937,1938,1939,1940],"containers_ssim":["box 33863 Box 36","folder 20","Item RG01.01.1.1774"],"_nest_path_":"/components#0/components#0/components#1773","timestamp":"2026-05-21T03:29:10.278Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_44","ead_ssi":"virmu_repositories_2_resources_44","_root_":"virmu_repositories_2_resources_44","_nest_parent_":"virmu_repositories_2_resources_44","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_44.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/44","title_filing_ssi":"Director's Correspondence (RG-01)","title_ssm":["Director's Correspondence (RG-01)"],"title_tesim":["Director's Correspondence (RG-01)"],"unitdate_ssm":["1927-2009"],"unitdate_inclusive_ssm":["1927-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RG-01","/repositories/2/resources/44"],"text":["RG-01","/repositories/2/resources/44","Director's Correspondence (RG-01)","The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance. ","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809).","\"Museum in Action\" was reformatted and is available on YouTube:  https://www.youtube.com/watch?v=03tQlnoFx0A\u0026t=1s","The collection is organized into six series, and items are generally arranged alphabetically within series 1-2. Series 3-6 are generally arranged chronologically.","Series 1 Director's Correspondence, 1927-2006 Series 2 Director's Office Staff, 1977-2008 Series 3 Building Files, 1979-2004 Series 4 Organization Files, 1991-2006 Series 5 Meeting Files, 1998-2009 Series 6 Program Files, 1992-2007","The collection was transferred from the Director's Office through periodic deposits since 1989. The bulk of the Early Director's Correspondence (Series 1.1) was deposited at to the Library of Virginia in 1982, where it remained until November 2022 when it was returned to VMFA.","Between June 17-September 10, 2023, the Fellowship Application and associated photograph of Wigfall were placed in the exhibition \"Benjamin Wigfall \u0026 Communications Village.\"","Between June 17-September 10, 2023, the recommendation letter from Leo Katz was placed in the exhibition \"Benjamin Wigfall \u0026 Communications Village.\"","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","Series 1.1 was processed by State Records Archivist Laura Drake Davis from 2006-2008 while it was still deposited at the Library of Virginia. In 2023, Senior Archivist Courtney Tkacz integrated VMFA's holdings into that series and in the process, RG-01 Boxes 1-4 and LVA 33863 Boxes 60, 67, 74, and 89 were removed.  ","Select application materials were digitized with the identifier: RG01.01.1.33863.001","Select application materials were digitized with the identifier: RG01.01.1.33863.007","Select application materials were digitized with the identifier: RG01.01.1.33863.008","Select application materials were digitized with the identifier: RG01.01.1.33863.009","This series is comprised of correspondence of all of the various Directors of the museum. Files were arranged alphabetically by subject, and there is a lot of overlap between different Director's as the files often contained pertinent items from a predecessor. In the case of the first sub-series (1.1), until 1976, the entire museum's files were maintained centrally as one unit in the Director's Office.","This series includes the records of the first three Directors - Thomas C. Colt (1935-1948), Leslie Cheek, Jr. (1948-1968), and James M. Brown (1969-1976) - as well as the two Interim Co-Directors Beatrice von Keller and Violet McDougall Pollard (1942-1945). The bulk of this series was deposited at the Library of Virginia, therefore most of the items held at VMFA are copies that LVA returned to the museum.","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with individuals, institutions and corporations beginning with the letter 'A', note- two letters written to Josef Albers (no replies). Dates- 2/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding a copy of Gainsborough's \"Blue Boy\" in the collection of Van Clief of Esmont, Virginia.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters from private donors and dealers offering objects for sale and as gifts to the Museum when it was first started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and information about gifts and purchases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about items being considered for purchase and members of the committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes, and information on bequests and purchases. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- minutes of accessions committee meeting 1972, announcements and attendance for meetings 1973, acquisitions policy for bidding on works of art at auction, etc. Dates- 9/72-1/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- painted decorations of St. James church, putting this church on the Virginia section of the National Register. Dates- 4/68-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- departmental inventories of non-expandable assets of the Commonwealth of VA 1940-3, worksheets on individual art objects and Museum equipment, state regulations, etc. Dates- 6/43-11/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown and P. Near (Curator). Subject- correspondence about possible acquisitions, considerations of gifts, notes on possible acquisitions, etc., 10/70-4/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding the gift of Mrs. Charles Adams (Ann Fowlkes) of music albums 1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's appointment by the Governor to an advisory committee assisting the Dept. of Conservation and Economic Development in a study for a proposed museum of science, archaeology and natural history (to be located in Richmond), copy of Senate joint resolution no.26-to study the encouragement or establishment of a museum of science and natural history, list of committee members, Report of the Department of Conservation and Economic Development to the Governor and the General Assembly of Virginia Relative to the Establishment of a Museum of Science, Archaeology and Natural History in Richmond, 1965, etc. Dates- 5/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Excerpt from the Report of the Committee on Recreation to the Advisory Council on the VA Economy and A Summary of Major Recommendations that Involve Questions of State Policy by the Advisory Council on the VA Economy. Dates- 8/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- possible Museum acquisitions from the dealer. Dates- 4/53-5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Airfiltering System 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- correspondence and announcement for lecture by Ambassador Akar about Africa's unique cultural heritage, etc. Dates- 10/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek was a judge for their annual show. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with Albemarle Art Association President about discontinued affiliation with VMFA, biographical information on Cheek, introduction about Cheek for lecture at AAA, Cheek's remarks in honor of Horace Burr 1966, etc. Dates- 8/57-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with and biographical information about Josef Albers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- a letter to Albers (no reply). Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown Subject- correspondence with Director about appointment to board of Hon. George S. Aldhizer II, Education in the Arts and Honors and Awards Committee appointments, etc. Dates- 6/67-2/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Donor of several paintings to the Museum, 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek as speaker for \"The Alexandria Forum: Southern Decorative Arts 1750-1850\", exhibition loans to Alexandria Assoc., etc. Dates- 9/55-1/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Printed materials. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding annual meetings and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- AAM (American Association of Museums)annual meeting pamphlets 1955,'57,'58,'59'60,'61,'62,'65 and'68, proposed constitution and By-Laws 1961, roster of member institutions 1959, correspondence about AAM meeting in Williamsburg, etc. Dates- 10/60-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from AAM Directors. Subject- Minutes annual meeting 1969, membership reports 1969-70, Financial Statements 1969-70, agenda for AAM council meeting 1970, memos, etc. Dates- 8/69-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- info about AAM (American Association of Museums) seminar held in Richmond 1972, financial and membership reports 1972, minutes of exec. committee meeting 1972, news releases, letter from Richard Nixon to Mr. Brown as President of the AAM, mailings sent out by AAM, etc. Dates- 7/72-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about Cheek as Program Chairman for AAM (American Association of Museums) annual meeting in Williamsburg 1962, tentative agenda, schedule of events, attendance list, committee reports, program, etc. Dates- 5/59-1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- correspondence to American Art Association (AAM) section chairmen about annual meeting, program, schedule of events, etc. Dates- 9/60-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about arranging program for American Association of Museums (AAM) meeting, roster of section chairmen 1962, agenda for exec. committee meeting 1961, invitations sent to VMFA trustees for a reception (held at VMFA) to meet the delegates to AAM meeting, etc. Dates- 7/59-6/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- roster of AAM (American Association of Museums) section chairmen 1962, attendance and schedule for section meetings, etc. Dates- 1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lloyd Goodrich Lecturer. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek on advisory committee for the study of design and craftsmanship in today's products, roster of advisory committee, proposed exhibition, conference series, documentary and publication about design and craftsmanship, National Exhibition Project Committee meeting minutes 1950, etc. Dates- 3/49-4/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek on Board of organization. Contains memos, pamphlets, exhibition literature etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns L. Cheek's membership in the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- minutes of exec. committee meetings 1961, '62 and '65, roster of trustees, memos to trustees, correspondence about convention in Chicago, etc. Dates- 1/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. (trustee of AFA). Subject- information about circulating exhibitions, minutes of Exec. committee meetings 1966 and '67, minutes of trustee meetings 1966, '67 and '68, memos to trustees, etc. Dates- 1/60-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- American Federation of Arts (AFA) exec. committee meeting minutes 1967 and '68, correspondence about AFA delegates visit to VMFA 1969, roster of members and committee appointments, news releases 1968, President's annual report to AFA, etc. Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about Cheek as Convention Committee Chairman 1959, correspondence about potential committee members, program for convention, minutes of preliminary joint meeting of the AFA trustees 1958, minutes of trustees meeting 1959, Golden Anniversary Convention, The American Federation of Arts 1909-1959, congratulatory and appreciation letters to Cheek, etc. Dates- 3/58-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown Subject- AFA (American Federation of Arts) exec. committee meeting minutes 1959,'60,'61,'62 and'65, roster of board of trustees, trustee meeting minutes 1961 and '62, AFA constitution, National Council on the Arts and Government Annual Report 1960, etc. Dates- 3/61-1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with the American Institute of Architects. Dates- 4/47-1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek served as a juror for the Annual Homefurnishings Design Competition and was an honorary member, 1949-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- A.I.D. (American Institute of Designers) VA chapter yearbook 1961-2, listing of suggested museums for A.I.D. exhibition, etc. Dates-5/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown. Subject- dinner meeting for the AID (American Institute of Designers) (interior designers). Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz and Wm. Wilkinson (Mariners Museum). Subject- Loan requests, cost estimates, pamphlets and photographs. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz and Wm. Wilkinson\u003e Subject- First major survey of American Marine Painting in observance of the Bicentennial. Lists of paintings, installation, budget, etc. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains copies of lecture invitation and catalog. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown from ASA (American Society of Appraisers). Subject- Brown's membership in ASA, ASA news 1971-2, announcement of meeting 1971, etc. Dates- 10/70-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for gallery dinner at VMFA for American Society of Appraisers. Dates- 1/72-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Brown as Chairman of a committee on collections at Amherst College and member of Exec. Committee of the Association of Fine Arts, constitution and minutes of Association of Fine Arts meetings 1970 and '71, roster of members of the Association of Fine Arts, membership solicitation letter, catalogue: The Amherst Sesquicentennial Exhibition 1972, etc. Dates- 10/69-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. J.G. Pollard and Mr. Henry W. Anderson. Subject- meetings of the Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, a portrait of Anderson by VA artist, Julian Binford, etc. Dates- 6/35-11/44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Henry W. Anderson. Subject- Anderson's presidency of the Board of Trustees 1947, trustee and Museum business, Annual Board meeting minutes 1947-8, Museum events and daily operations, Museum investments and gifts to the Museum, a general study of the Museum's collections and suggested plan of development (1947), information about the land occupied by the Museum and its estimated future needs, etc. Dates- 6/47-6/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- President of the Board of Trustees. 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and L. Cheek, Jr. and Col. Henry W. Anderson. Subject- Anderson's presidency of the VMFA Board of Trustees, Museum events and daily operations, gifts to the Museum, investment of the Museum's A.D. Williams fund, listing of financial condition of endowment and special funds 1952-3, etc. Dates- 5/51-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for dinner honoring Mr.and Mrs. Walter P. Chrysler, guest lists, invitations, R.S.V.P.'s, etc. Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- final copies: VMFA 2nd Annual Report of the Director 7/1/36-6/15/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 7th Annual Report of the Director 7/1/41-5/1/42 and VMFA staff orders 1/42 elaborating the orders of 6/41 conduct of the Museum during an emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers, preliminary and final copies of The Report of the Acting Directors for the Year 1944-5, agenda for Executive committee meeting 6/44, breakdown of membership 1943-4, 1944-5 and working papers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- final copy VMFA Annual Report. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- preliminary and final copies VMFA Annual Report 1946-7 7/1/47-4/30/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- preliminary and final copy: VMFA Annual Report 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for the 1948-9 Annual Report, Report of the Executive Committee of the VMFA to the Board of Trustees (5/22/49) also a listing and attendance record of the Board of Trustees (5/27/49).  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for the 14th Annual Report, including operations budget, salaries and membership count, also a copy of VMFA Organic Laws (10/36). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- The 14th Annual Report of the Director (5/27/49) and its working papers, also correspondence about VMFA role in selecting and displaying portraits in the Governor's Mansion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- working papers for the annual report, listing of Cheek's activities (lectures, consultations, committee and jury duties). Dates- 1960-1. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual Reports for Collections and Gallery Divisions 1951-54, and for State Extension Services 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 1st Annual Financial Report of the Curator (4/13/35-6/15/36), VMFA 2nd Annual Report of the Director (7/1/36-6/15/37), VMFA 3rd Annual Report of the Director (7/1/37-6/1/38), VMFA 4th Annual Report of the Director (7/1/38-6/1/39), VMFA 5th Annual Report of the Director (7/1/39-5/1/40), VMFA 6th Annual Report of the Director (7/1/40-5/1/41). Dates- 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 7th Annual Report of the Director (7/1/41-5/1/42), VMFA 8th Annual Report by the Acting Directors (7/1/42-5/31/43), also, VMFA 9th Annual Report by the Acting Directors (7/1/43-5/31/44).  Dates- 1941-1944. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- the following reports: \"Remarks by Robert Marsh, Jr. before the Appropriations Committee of the General Assembly\" and \"Resume of the Request of the Trustees of the Virginia Museum of Fine Arts before the Appropriations Committee 2/64\" Dates- 2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual meeting of its Richmond Chapter at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and Ms. B. von Keller. Subject- biographical info, purchase of his painting Maggie, letters of introduction, personal references, loaning work to Museum, Va. artists exhibitions, counsel on museum operations, etc. Dates- 10/35-10/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed paperback guide to architecture in Virginia, roster of Editorial Advisory Board for guidebook, list of sites by counties and cities, etc., final list of buildings and sites, announcements and minutes of Nominating Committee meeting, etc. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- biographical information on H. Harvard Arnason, speaker on Henry Moore sculpture at VMFA, VMFA Members' Bulletin vol.26, no.2 10/65. Dates- 9/65-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- confirmation of meeting with State Art Commission to present plans to enlarge VMFA. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership roster, pamphlet of Art Dealers of America, Inc., etc. Dates- 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given at the VMFA by members of the staff of the Museum of Modern Art 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices, the following publication: Let's Make the Lions Roar: A Marketing Study of the Art Institute of Chicago by Edward J. Teply (Northwestern University 1959) Dates- 6/48-1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Potential jurors for biennial exhibitions 1970. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence and a listing of members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and art nouveau purchase plan. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Artificial flowers for decoration in galleries, 1964. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum program where artist-members participated in a life drawing class.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program sponsored by museum for artist members, included life drawing classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and memorandums. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and minutes from meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Project to try and send artmobiles overseas as suggested by the State Department. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence as to whether or not they would like to have the artmobile visit their school. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains plans, blueprints, and correspondence that occurred during its development.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Manufacturer of custom van bodies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Presidential Inauguration. Artmobile was State of Virginia's entry in President Johnson's inaugural parade, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed exhibition for the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Magic City Bank had an exhibit trailer, which was a prototype for artmobile.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations, programs and correspondence.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reprints of A.I.V. article \"Galleries on Wheels\", 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VFWC was instrumental in getting the artmobile started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, newspaper and magazine clippings and schedule 1961-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedules, Plans, correspondence and photographs, 1960-63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and plans for 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening, Middleburg, Virginia, 1962.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner and Invitation List. Artmobile II Opening. Middleburg, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Facts sheets, invitations and photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dedication. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- correspondence re. funding, construction, photographs, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans for Collegiate Artmobile to visit Virginia Colleges. 1964-65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal to ask the Carnegie Foundation for funding for a collegiate artmobile, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening, Ashland, Virginia. Correspondence and programs, Sept. 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Meeting of Virginia college Presidents regarding the Artmobile project to service college and University campuses. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, David Pittman, Peter Mooz. Subject- Artmobile workshop: program agenda, exhibition schedules, etc. \"Artmobile Chairman Handbook\". Dates- 7/74 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fruehauf Trailer Co., artmobile manufacturer, 1965-66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed by Lt. Governor Mills Godwin, attempted to establish a Virginia Arts and Crafts Museum. Newspaper clippings, correspondence, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets, prints, minutes and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Arts and Humanities Summer Institute. Sponsored by the Va. Commission of Arts and Humanities at the Museum in 1971. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Informational pamphlet from the President's advisory Council on the Arts, 1963. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Art Council of America and Governor's office. Subject- invitation from the Art Council of America to be represented in this council, etc. Dates- 10/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from George Cruger (Editor, AIV), J.M. Brown and Wm. Gaines. Subject- Microfilming of AIV and checklist of Articles to date, Spring 1974. Catalog: \"Image\", George Eastman House, 1973. Dates- 11/73 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memos and Correspondence. Dates- 1960 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Search for a designer for the magazine. Letters to and from possible candidates. Dates- 1964.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Various issues of the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- A.P. News clips regarding Museum, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the portrait bust of John Marshall.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- A.P.V.A. Pamphlets and Correspondence, 1972. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- agenda for the APVA (Association for the Preservation of VA. Antiquities) meeting held at VMFA, roster of exec. committee and trustees, etc. Dates- 3/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of members and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and reports from annual meeting 1964-68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- General correspondence to Directors of various museums regarding membership, loans of art works, invitations, etc.  Fact sheet on Artist housing in Soho. Dates- 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and minutes from annual meeting 1970-71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Annual meeting: reports, minutes, events schedules, officers, membership. Code of Ethics for ilicit traffic in works of art. \"Reproductions and Reproduction Rights For Museum-Owned Objects\", 1962, American Federation of Arts. Dates- 1972, 1979 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes from meeting. Dates- 5/59 - 6/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposals for membership. L. Cheek was membership chairman. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes of meeting. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report on dangers of lending objects to institutions for special exhibitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Questionnaires, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Lady Nancy Astor. Subject- Donation of her portrait by John Singer Sargent and china. Dates- 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"B\". Subject- varied. Dates- 9/50-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with institutions, individuals or corporations beginning with the letter \"B\" and the VMFA loan-own art service policy statement. Dates- 6/62-10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Transcript of remarks by Frank Stanton on his award of the Michael Friedman Medal of the Architectural league, magazine clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Ballet and L. Cheek concerning the beginning and future of a theatre at the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, A. Ballet and trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Baltimore Museum of Art calendars of events, correspondence about museum practices, etc. Dates- 9/48-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Miss Iris Barry. Subject- giving a film lecture, newspaper clipping, etc. Dates- 8/49-5/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, T.C. Colt, Jr. and L. Cheek, Jr. Subject- general information about Barter Theatre (announcements, VA Highlands Festival schedule, etc.) and correspondence about the Museum sponsoring drama productions as a state extension service. Dates- 12/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Barzansky Galleries. Subject- invitation to a Harriet Fitzgerald exhibition at the Charles Barzansky Galleries, N.Y.C. Dates- 1/58-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Governor Battle. Subject- thank you notes, etc. Dates- 11/50-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlet of the Museum's 1945-6 season. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. Bellows. Subject- the proposed acquisition of one of two of Bellows' paintings (Kids, The Teamster) which the museum didn't purchase. Dates-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Fitzgerald Bemiss as a Trustee, correspondence about Board of Trustees and Membership Committee business, gifts to VMFA, etc. Dates- 6/54-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- visit to Florence, Italy and to see Bernhard Berenson. Dates- 1/56-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition: Eugene Berman's sketches for the Metropolitan Opera's Barber of Seville. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Brown was a chairman of the panel of judges for the Franklin Mint Bicentennial Medal competition in the state of Virginia, official rules and entry form for competition, etc. Dates- 4/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- House Bill no.131 to keep Va. interstates free of billboards, response letters from Va. politicians, etc. Dates- 2/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Mr. Paul Bird as a lecturer on contemporary painting, a transcript of the lecture, etc. Dates- 1/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek and J.M. Brown. Subject- Accessions: Chinese objects. Requests for loan of A. Wyeth paintings from Wyeth Estate, invitation to Clare Boothe Luce to address 17th Annual Va. Public Relations Conference, letter of inquiry regarding the artist Lucille Sinclair Douglas. Accessions: Dubuffet prints, period chairs, pedestals, chest, Aphrodite Torso, female draped figure, Claude Hirst painting, Roger Barr painting. Eric Christmas and Festival Theatre, Ontario, Canada, proposal around building of Bristol Chapter House, furnishing of Agecroft Hall, expansion of University curriculum to include Art Historical Studies in surrounding colleges, Hogarth exhibition, World Museum Fund with description of event and agenda.  Text from \"Country Beautiful, America's Finest Small Museums\", with description of VMFA. Accession and gifts: \"The Little School Girl\", Degas; Amphipolis Gold. Dates- 1959-70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek. Jr. Subject- By-Laws revised and adopted 1951, Organic Laws, announcements, replies, agenda and minutes of annual Board meeting 1950, committee reports, listing of Trustees, etc. Dates- 5/50-5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Col. H.W. Anderson. Subject- annual Board meeting, listing of Trustees 1952-3, announcement of annual meeting, VMFA Annual Report of the Director 1952, etc. Dates- 5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement, replies, agenda and minutes of annual meeting 1953, notice of amendments to the By-Laws, a VMFA report/essay \"The Need for Completing Its Addition\", etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- annual Board meeting minutes 1953, 54, VMFA Annual Report of the Director 1954, notice of amendments to the By-Laws 1954, announcement, replies and agenda for meeting, etc. Dates- 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- minutes of Trustees annual meeting 1955, working papers for the meeting, committee reports, By-Laws revised and adopted 6/54, listing of insurance coverage, Museum events, etc. Dates- 5/55-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mid-year meeting and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement of annual meeting and luncheon for the Trustees, R.S.V.P.'s, attendance list, etc. Dates- 4/56-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Index cards with names and addresses of current and former Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff and Board Presidents. Subject- Board of Trustees committee appointments, appointment letters and reply letters for the following years: '45/6, '46/7, '47/8, '48/9 and '49/50. Dates- 1945-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- letters of appointment to serve on Trustee committees and reply letters, listing of committee appointments 1949-50, etc. Dates- 7/49-7/50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Henry W. Anderson (President of the Board). Subject- appointment to committee letters and reply letters, etc. Dates- 8/51-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence By L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of committee appointments. Dates- 1954-5. Correspondence- Subject- listing of committee appointments. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of Trustees committee appointments (1956-7), reply letters to committee appointments, etc. Dates- 8/56-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- notes on planning, cost estimates, invitations, replies to preview of A.D. Williams collection and dinner honoring Governor and Mrs. Battle, etc. Dates- 10/52-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Museum events, working papers for the annual Board meetings and agendas, nominations to the Board, excerpts from the Board minutes, committee reports, etc. Dates- 2/37-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains miscellaneous correspondence, memos and minutes from meetings. 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board annual meeting minutes 1955, By-Laws revised and adopted 1954, By-Laws and suggested revisions 1956, listing of Trustees 1955, Committee appointments 1954-57, etc. Dates- 1954-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Roster of the VMFA Board of Trustees. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement, replies for Board meeting, listing of Trustees 1952, 53, notice of meeting cancellation because of inability to secure a quorum, etc. Dates- 1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- announcements, replies, agenda and minutes of Trustees special meeting and Executive Committee meeting, etc., 1/54-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of the Board of Trustees annual meetings. Dates- 1934-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- suggested plan for developing VMFA collections by Colt (1945), announcements and replies for Board annual meeting , prepared budget 1947-8, listings of Trustees, officers and committees, etc. Dates- 10/45-6/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- sightseeing boat tour on the James River. Dates- 2/57-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mrs. John H. Bocock as a Trustee, Board of Trustees, Entertainment and Accessions Committee business, art lending service information, gifts to VMFA, etc. Dates- 5/51-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek writing introduction for A. Aubrey Bodine's photography book: The Face of Virginia, draft of the foreword/introduction, biographical information on Bodine, etc. Dates- 3/62-1/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- letter to Hon. Armstead L. Boothe about appointment to Board. Dates- 6/64-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Jr. primarily with the Sheraton Hotel. Subject- a cocktail party held on Cheek's Boston trip, guest lists, invitations, etc. Dates- 10/58-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. with various Boston Museum staff. Subject- museum practices, loans, speaking engagements, exchange publications, etc. Dates- 11/47-10/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loaning objects to VMFA, correspondence about museum practices, lecture given by Cheek in Boston about art in Virginia, etc. Dates- 3/55-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and V.Y. Bowditch. Subject- Bowditch biographical information, drama schedule 1955-6 season, evaluations, theatre operations, etc. Dates- 7/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Theatre director of Pasadena Playhouse 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. with E.G. Bowles and the Public Works Administration (PWA). Subject- landscaping the Museum and bids complying with PWA, construction contract 4/36, classifications of labor/workmen and wage rates 12/34 and Form Of Bond-VA 4/36. Dates-3/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's membership to the VMFA Board of Trustees, Museum events and daily operations, the following Museum publications: Virginia Museum of Fine Arts By-Laws, 1st Annual Financial Report of the Curator (4/13/35-6/15/36) and Virginia Museum of Fine Arts 1st Quarterly Financial Report of the Curator (5/1/36), listing of suggested prospective Trustees, listing of Trustee committee appointments 1937, sketches of Museum floor plan, etc. Dates- 12/34-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, Museum publication: Prospectus of Program Season of 1937-38, radio talk show transcript 3/38, etc. Dates- 6/37-6/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, PWA grant offer 1938 to the Museum, letter from VMFA rejecting the offer of a PWA grant, copy of the resolution that Henry P. Strause, Esq. be named first Honorary Benefactor of the Virginia Museum of Fine Arts, etc. Dates- 7/38-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Trustee committee appointments 1939-40, essays by Branch about WWII, financial situation of the Museum 1939, creation of a \"Ways and Means\" committee, etc. Dates- 8/39-6/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe Branch. Subject- Branch's presidency of the VMFA Board of Trustees, staff organization (1940), plan for VA artist fellowships, \"Art in Virginia\" an article written by Colt, Museum events and daily operations, Museum investments and gifts to the Museum, biographical information on Branch, Trustee committee appointments 1940-1, etc. Dates- 6/40-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, biographical information on Branch, Museum events and daily operations, Museum investments and gifts to the Museum, winner of the first Webster S. Rhoads medal, etc. Dates- 5/41-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Thalhimer Brothers, Inc. Subject- use of VMFA's Medieval Gallery for British Embassy reception. Dates- 6/1/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- brochures for the VA Dance Society, VA Film Society and VA Chamber Music Society. Dates- 1963-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loaning objects to Brooklyn Museum, correspondence about museum practices, exchange publications, etc. Dates- 2/48-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- essay written by J. Carter Brown for New York University. Dates- 5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- news releases about James M. Brown becoming VMFA Director, newspaper clippings, photos of Brown, Report of the Director 1972-3, etc. Dates- 6/69-11/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff and Trustees. Subject- plans for receiving the new Director. Dates- 6/69-7/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Fred Haseltine (Assistant to Director). Subject- list of objects being offered to the Museum including: antique gold boxes, ornaments, clocks, etc., letters to the executors of the Ailsa Mellon Bruce estate, correspondence with Paul Mellon, news releases and news paper clippings about gift, photos of the galleries, etc. Dates- 8/70-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Mr. David K.E. Bruce as a Trustee, Board of Trustees business, gifts to VMFA, etc. Dates- 5/48-3/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed acquisition of the Brummer collection of Medieval art, report on collection, list of objects, correspondence to Paul Mellon, etc., later sold to Duke University. Dates- 12/65-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and the Smithsonian Traveling Exhibition Service. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Exhibition 1958, includes layouts and photos, etc. Dates- 3/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's membership on the Fine Arts Advisory Committee to U.S. Commission for the Brussels Universal and International Exhibition of 1958, committee meeting minutes 1957, committee roster, etc. Dates- 2/57-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Fair 1958, Cheek was an advisory committee member, loan, catalogue and installation lists, information on slide presentation- \"Art in American Museums\", etc. Dates- 3/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- sketches, plans of the U.S. pavilion for the Brussels International Fair 1958, information and listing of objects in the \"American Folk Art\" exhibition, etc. Dates- 1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Harry Bertoia (Sculptor). Subject- the acquisition of a Bertoia piece (Tree) shown at the Brussels Fair. Dates- 8/57-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr. Subject- D. Tennant Bryan as a Trustee, Board of Trustee and Membership Committee business, etc. Dates- 10/47-6/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. D. Tennant Bryan. Subject- Trustee/Museum business, membership to the Museum, etc. Dates- 5/51-9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. J. Stewart Bryan. Subject- Trustee/Museum business, loan of paintings for inaugural exhibition, gift to Museum, etc. Dates- 6/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Thomas P. Bryan as a Trustee, Board of Trustee business, etc. Dates- 9/58-11/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- congratulatory letter to Mr. Thomas P. Bryan on election as Mayor, Date- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. to Buchholz Gallery. Subject- proposed purchases, loans, exchange publications, etc. Dates- 4/47-8/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VMFA budget exhibit 1959 and 1966-8, resume of the VMFA Trustees before the Appropriations Committee 1964, budget requests 1960-1 and 1962-4, etc. Dates- 9/61-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of Governor's Budget Advisory Board 1965, outline for capital outlay funds dinner, invitation letter to Trustees, etc. Dates- 5/65-6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed 25th anniversary budget, correspondence about obtaining a Budget Committee for the 25th anniversary program, anniversary publications, etc. Dates- 1/60-3/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about Capital Outlay Commission dinner and theatre, etc. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- suggested order of events for Budget Advisory Committee meeting, invitation letters to the Presidents of VMFA affiliate chapters, draft of end of dinner announcement, etc. Dates- 7/61-9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- list of Governor's Budget Advisory Committee 1969, review of Museum's request for capital outlay funds to construct North Wing and theatre, etc. Dates- 4/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- roster of Governor's Budget Advisory Board 1967, outline for Cheek's remarks to Budget Advisory Committee, etc. Dates- 1/67-5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- roster of Governor's Budget Advisory Committee members 1972-4, request for hearing, dinner invitations for Advisory Committee, etc. Dates- 5/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers and news releases about the addition to the Museum. Dates- 6/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to other U.S. art museums. Subject- installation and advice on purchasing an air conditioning system. Dates- 5/53-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Wm. Rhodes. Subject- correspondence about air condition system failure. Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- addition and renovation to the Museum, proposals and preliminary studies by Mr. Merrill Lee, Architect, copy of a Architects and Consulting Architects Contract, etc. Dates- 12/49-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard primarily with Architects M.C. Lee and Eggers and Higgins. Subject- schedule of interior installation, list of architects bills, building inspection, review work/progress, photographs of progress of additions to the Museum 1953, etc. Dates-12/48-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the proposed addition the VMFA 1949-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Baskervill and Sons (architects and engineers) preliminary drawings, schedule for construction project, etc. Dates- 7/64-12/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Attempt by the United Daughters of the Confederacy to expand their facility on the block. The Museum's and the Virginia Historical Society's attempts to stop them and acquire the land for their own use. Dates- 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about equipment needed to supply music to members' quarters, lobby area and galleries. Dates- 7/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- information about sound equipment. Dates- 6/54-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information on purchasing folding and stackable chairs. Dates- 8/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- extending the rise of freight elevator. Dates- 8/53-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- proposals and layout for a film production unit to be located in the new wing (to make interpretative sound films). Dates- 7/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information, blueprints on changes to and installation of kitchen equipment. Dates- 6/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- the proposed purchase and installation of photographic equipment, correspondence with other art museums about creating and maintaining a darkroom and staff photographer. Dates- 8/53-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- blueprints of check room, information about coat, overshoe and umbrella racks for the Museum check room. Dates- 9/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information about seating for the theatre and auditorium, blueprints of the auditorium. Dates- 8/53-8/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of machinery and equipment needed for the new shop. Dates- 8/17/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about chandelier for front entrance of Museum. Dates- 9/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M.C. Lee, Architect. Subject- alterations and additions to the Museum, color samples and specs for painting and finishing, etc. Dates- 8/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains amounts of pledges and names of donors giving money for new galleries.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Gallery floor plans: VMFA, Brooklyn Museum, Victoria and Albert, British Museum, Art Institute of Chicago, Walters. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Merrill C. Lee, Architect. Subject- progress photographs and negatives (north wing). Dates- 5/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Architects: contractual agreements, VMFA design program, Capital Outlay Appropriation, alteration, additions, cost estimates, expenditures, contracts for Doyle and Russell and Merrill C. Lee (AIA). Dates- 12/48 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- blueprints of a darkroom and information about and catalogs of photographic equipment. Dates- 8/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns securing restricted material such as steel for post-wartime construction. 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Mrs. J.G. Pollard. Subject- Economic Stabilization Committee (ESA) search for qualified women employees, ESA headquarters to be located in Richmond, federal government regulations that established ceiling prices for all commodities and services (except those specifically exempt) upon the basis of prices in effect between 12/19/50-1/25/51. Dates- 2/51-12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Final Statement Museum Of Fine Arts Richmond, Virginia\", contract dated June 9th, 1952. Financial statement/contract from Doyle and Russell Construction. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Terra cotta statues at the North entrance to the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Original Building: \"Manual On The Planning And Execution Of State Capital Outlays\", 9/1/44, contracts: Doyle and Russell (Building Contractors) and Merrill C. Lee (AIA). Detail for additions and deletion from original building. Design contracts and inspection reports. Dates- 1952 - 55, 1966, 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Brochures, drawings, correspondence 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- information on red carpet and padding for the front entrance. Dates- 8/51-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Meeting with Interior designers 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding plants around the Waddy fountain. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- the Richmond Junior League's proposed campaign to raise money for construction of South wing for the Museum, working papers for and final copy of the pamphlet: \"The Virginia Museum Needs Wings\", etc. Dates-12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- renovations and construction of a new wing to the Museum, Cheek's comments on preliminary and revised drawings, and construction progress, Architects and Consulting Architects Contract (Merrill C. Lee, Architect, Eggers and Higgins, Consulting Architects), an essay \"The Virginia Museum of Fine Arts Need for Completing Its Addition\", etc. Dates- 1/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information relating to addition to Museum, several reports including: Building Program 1950-1, Addition to Building 1949-50, The Virginia Museum of Fine Arts The Need For Completing its Addition, History of Appropriation for Construction (1948-53) ,also, notes for Sen. Gray about Museum addition (1952). Dates- 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- miscellaneous daily and general building maintenance. Dates- 2/60-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Governors Stanley and Battle. Subject- improvements on Museum building and completion of new wing (1954). Dates- 12/50- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject-construction/installation of American and English galleries, alterations to Medieval hall, blueprints, etc. Dates- 7/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- information on purchase of steel lockers, blueprints, etc. Dates- 4/54-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about ordering office furniture designed by Eero Saarinen. Dates- 8/64-1/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Alfred Geiffert, landscape architect. 1949-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- analysis of situation concerning the parking lot and planting, etc. Dates- 8/66-10/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Budget Estimates for landscaping the grounds of the Museum around addition, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information and bids on purchasing lighting and steel storage equipment. Dates- 11/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- info on purchase of supplies for dining room/cafeteria: placemats, traymats, doilies, napkins, matches. Dates- 1/55-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains plans for the Waddy Fountain, and furnishing brochures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Carl Milles, donor of the Little Triton Fountain 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- marble chips for garden court fountain request for information about installation of mosaics in garden court. Dates- 8/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed purchase of wall coverings for new galleries (movable partitions and door headers). Dates- 2/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- commission to decorate behind refreshment counter in the new building, commission switches from Julien Binford to Richard Q. Yardley. Dates- 6/54-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Richard Q. Yardley Mural in the refreshment room. Also contains information on Julien Binford who was originally retained to do the mural before Yardley. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Public Works Administration Grant for Museum addition, application to National Production Authority (N.P.A.) for assistance in obtaining materials for proposed Museum construction. Dates- 10/35-9/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- staff requests for facilities and equipment, list of private funds for Museum addition, Board resolution about the construction on the building, etc. Dates- 7/48-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- drawings of proposed Museum addition, Special Building Committee procedure in dealing with Appropriations Committee of the House of Delegates, etc. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and New York City Museums: Metropolitan, Guggenheim, MOMA, and Whitney. Subject- Extended loans of paintings and sculpture for the VMFA's new wing of Contemporary Art, scheduled for Jan. 1970. Correspondence from L. Cheek to John Walker to address the Collectors Circle. Dates- 7/69 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- report on budget dinners 6/65, Cheek's itinerary for talks 1965, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and Joseph Whitehead (Interior Designer). Subject- Interiors of the New South Wing, Fabric sample enclosed. Correspondence between L. Cheek and Bernard Bothner of the Brooklyn Museum. Subject- Resources for slides to accompany the reinstallation of the Egyptian Gallery. Dates- 6/66- 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposals for gallery orientation theatre systems. Memo To VMFA staff regarding upcoming Fellows meeting. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to other museum directors. Subject- Request for slides of recent building additions to their respective museums, to prepare for a presentation to the Virginia Legislature. Dates- 4/65 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey conducted by L. Cheek to determine the necessity of a sprinkler system in galleries. Letters, cards of response and survey results. Dates- 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains brochures and catalogs 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photos of preliminary architect's drawings, preliminary cost estimates, etc. Dates- 7/62-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Information concerning the MOMA 30th Anniversary, building funds drive with text of building/expansion plans, \"Toward The New Museum Of Modern Art\" , 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- review of presentations to the Art Commission, photos of other art museum additions, statements about addition (Mr. Wallace K. Harrison and Mr. Frederick D. Nichols), etc. Dates- 9/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sculpture garden fountain and the renovation of the theatre lobby. Dates- 7/76 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Wm. Higgins. Subject- Membership drive/ New Wing opening, progress reports to members of the Board, financial statements: cost estimates, design fees, operating fund, construction timetables. Fact sheet relating to history of VMFA. Signficant dates for the Virginia Museum, \"History of North Wing Construction\". Dates- 4/71 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nicholas and C. Chamberlayne (Hardwick). Subject- Progress timetable, architectural engineering/ landscape/ interior design. Revisions/ alterations to construction, cost estimates, instructions to bidding contractors. Review by building committee of the Board of Trustees. Minutes of the building committee, 2/25/72, drawing/plans. Dates- 1971 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nichols and C. Humelsine. Subject- North Wing plans, justification and description, funding, appeal to legislature to win support for North Wing funding. Rosters: Appropriations committee, finance committee, Governor's budget advisory committee. Essay- \"The Unique, Pioneering Virginia Museum\" and \"Facts on the Virginia Museum of Fine Arts\". Dates- 1967, 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson and L. Cheek. Subject- Original design of North Wing per L. Cheek and Baskerville (AIA), later rejected by the Arts Commission. List of significant dates with regard to North and South Wing additions. Minutes of Special building Fund committee, 3/11/65, original building proposal, photographs. Bulletin vol.26, no.2 10/65. Dates- 9/65 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs/Plans/Drawings from Baskerville and Son (AIA) for:entrance hall, basement/sub-basement, site plan elevations/cross section, gallery floor plans and views of entire block.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nicholas and L. Noland (building committee). Subject- Construction, architectural engineering, capital outlay, construction bids, plans and contract documents. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- blank order forms labeled VMFA NPA Regulation No. 4. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. J.G. Pollard. Subject- National Production Authority (NPA) regulations, order listings for maintenance, repair and operating (MRO) supplies, regulations about using the DO-97 rating (Form used to obtain MRO supplies), quota for the 4th quarter 1951, etc. Dates- 3/51-7/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about construction and funding (some PWA) of a wing to the Museum, publication: Working Relationships Between Private Architects and Engineers and the Commonwealth of VA (2/44, Governors' office, Division of the Budget) and The General Conditions of the Contract for the Construction of Buildings (standard form of the American Institute of Architects). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Doyle and Russell, Building and Industrial Construction. Subject- Bronze founders tablets, frames, building inspections and taking over and operating the building 10/35. Dates- 8/35-10/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Peebles and Ferguson, Architects, Norfolk. Subject-blueprints (including detail of the Portuguese Room dated 9/18/35), maintenance and furnishings (benches, plaques, interior painting, etc.) for the Museum. Dates- 4/35- 6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Ferguson, Meakin and Moore, Architects, Norfolk. Subject- reproductions of drawings of proposed south wing, drawings, bids, etc. Dates- 10/37-5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans and Correspondence 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photos of drawings showing the proposed additions and alterations to Museum. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans and correspondence regarding the memorial plaques around the building: R.E. Lee Camp, Waddy and the Old Dominion Foundation fountains. 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- construction/installation for the Pratt collection, blueprints, progress reports to Mr. John Lee Pratt, etc. Correspondence with Milton Samuels of French and Company who designed the installation, including quotes for fabric, carpet, cases, carpentry, lighting (including the chandelier). Cheek asked Pratt to fund it and he agreed. Lots of invoices. Dates- 6/54-5/55.   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Baskerville and Sons, Architects, 3/11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about building models, preliminary drawings, furnishing and equipment catalogues, etc. Dates- 4/65-12/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence and statements from Marcellus Wright and Son. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and Merill Lee (architect) and Chairman of the Building and grounds committee, concerning construction of the service area. Dates- 1/59 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Eggers and Higgins, Architects. Sketches and drawings 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., J.M. Brown and Erwin H. Will (VMFA President of the Board). Subject- all aspects of construction of the South Wing, additions and alterations to Museum, landscaping, fountain, parking lot, etc. Dates- 12/66-3/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of South Wing construction conferences 1969-72, outline of construction to South Wing, etc. Dates- 1969-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Governors Dinner/Event in celebration of the South Wing: program agenda, menu, dedication plans, News Media reception, Rosters: House of Delegates, Senate, Trustees. Key presented to Governor Linwood Holton donated to the archives by Anne Holton November 3, 2022. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Capital Outlay requests, individual project descriptions, preliminary plans, tabulations of construction bids, estimated income sources, floor plans, budgets, invoices, Executive Committee Minutes and Building Committee Minutes. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Erwin Will. Subject- New duct layout for the South Wing attic space: revisions necessary due to mistakes in original drawings and improper work. Financial statements. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA Charter, Act of March 27, 1934. Design program (2/18/49) Phase II, museum enlargement, boiler replacement, contract cost estimates, committee no.279-A, addendum no.7 to the drawings and alterations to VMFA. Theatre light control system, weekly project inspections. \"General Conditions Of The Contract For Capital Outlay Projects\". Dates- 2/52 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and members of the building committee. Subject- Proposed additions, rejection of north facade by Arts Commission. Excerpts from Minutes of Art Commission Meeting, 6/4/65, 7/9/65, 7/29/66. \"The Virginia Museum Opens The New South Wing\", Press package, Brief History and Signficant Dates of VMFA, photographs. Dates- 1965 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Supplemental Agreement #2: Additions and alteration to various aspects of structural design contracts. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Interior construction and design. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment purchasing list, blueprints of theatre, installation of theatre and projection equipment and an orchestra lift, local building committee meeting minutes, etc. Dates- 7/53-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment: bronze stands and velvet ropes. Dates- 1/55-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Construction blueprints and plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letter of invitation to Trustees, former and current, to celebrate the construction of the North Wing, seating arrangement and timetable for event. Letter to Gov. Holton concerning ground breaking ceremonies and gala dinner. Dates - 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Col. Anderson. Subject- proposal for theatre for Museum, possible recreation center for armed forces stationed in Richmond. Dates- 2/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Waddy Memorial and Triton Fountains 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- B.F. Ruskin and Associates 1953-55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- committee reports on funding for construction of addition to the Museum, schedule of payments to date (12/4/50 and 12/20/50). Dates- 10/50-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- additions and alterations to VMFA 1955, list of Museum alterations and additions to date 6/15/55 by Merrill C. Lee, Architect, VMFA Noise Survey CA 9687 (1955), blueprints, etc. Dates- 1/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains architectural plans for the first addition to the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- cost estimates/proposed funding for Museum addition, copy of the resolution to establish a Local Building Committee, announcements, replies and minutes of Local Building Committee meetings 1950-2, etc. Dates- 1/46-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Local Building Committee, 1951-54. Information regarding the local contractor. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- minutes and outlines of VMFA Building Committee meetings 1952-3. Dates- 6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr., and G.D. Gibson (Chairman of the VMFA Building Committee). Subject- addition to Museum building, listing of additions and alterations to the building, agenda and minutes of Building Committee meetings 1953-4, etc. Dates- 9/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- addition to Museum building, minutes, announcement and agenda for VMFA Building Committee meetings 1954-5, list of contributors to Museum Building Fund, etc. Dates- 7/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by G.D. Gibson (Trustee). Subject- installation of Museum equipment, minutes of the Buildings and Grounds Committee meetings 1955-6, etc. Dates- 9/56-12/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains lists of expenditures, list of private donors with amounts donated for the addition to the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA Local Buildings and Grounds Committee meeting minutes 1948-56, listing of committee meeting dates 1948-56. Dates- 1948-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard to Senator Garland Gray. Subject- information about planning costs for addition to Museum building, Museum business and events, etc. Dates- 5/51-7/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of the Museum's members bulletin. Vol.1, No.8, Vol.7, No.'s 1,4and6, Vol.8, No.'s 5and8, Vol.9, No.'s 1,2and4, Vol.10, No.'s 1,2,7and8, Vol.11, No.'s 1,2,3,4,5,6,7and9, Vol.12, No.'s 8and9, Vol.13, No.'s 6and9, Vol.14, No.'s 1,3,6,7,8and9, Vol.15, No.'s 3,4,5,6,7,8and9, Vol.16, No.'s 1,2,3,4,5and6. Dates- 9/46-2/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Bulletins with general information and a survey of sources of income, private and public, from various museums. Dates-1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 1962-1966 Donations, Trustee File. Dates- 7/55 - 12/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and members of Board of Trustees. Subject- Revision of By-laws and Memorial Fund Policy, revisions and recommendations, minutes from sub- committee on By-laws. Dates- 1958 and 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA By-Laws (revised and adopted 5/51, 5/53, 6/54), Notice of Amendments to By-Laws (6/50, 5/53, 6/54), VMFA Organic Laws, etc.. Dates- 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Senator Byrd. Subject- amendment of IRS code Sec. 863, exempting works of art loaned for exhibition in this country from federal estate taxes. Dates- 7/51-10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard, and L. Cheek, Jr. to individuals, institutions and companies beginning with the letters Ca-Cn. Subject- varied, including four letters from Alexander Calder about Museum purchase of one of his pieces. Dates- 8/45-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek. Subject- Loans of artwork, Trustees, Fellows, Mary Callery (juror, 1963 Va. Artists Exhibition). Accessions and gifts: Tree, Callery; Han Dynasty pottery; Nanny, T. Sully. Dates- 2/59 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and P. Near to J. Brun and H. Jucker. Subject- Acquisition and provenance of Caligula, Newspaper clippings. Dates- 1971-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, his term as Treasurer of the Fellows. Dates- 1/60-6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. John Canaday (from University of VA). Subject- Christmas card design by Canaday, loan of a sculpture show, jobs, etc. Dates- 5/49-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Capital outlay requests for parking area, South Wing, Entrance Improvements, Expenditures and revenues for the year ending 6/1960. \"Instructions for Form c-54-A (individual project report)\" from Commission on State Capital Outlays and Means of Financing. General Endowment Income 1960-61; Capital Outlay for Galleries, landscaping, Egyptian gallery and North Wing, 1935-60. Collections for which there is inadequate exhibition space, list of cultures that are not represented or under-represented, roster of members serving on the \"Commission on State Capital Outlays and Means of Financing. Dates- 1960-61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Includes Frances Benjamin Johnston acquisition.","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- officers from the Carnegie Corporation visiting Richmond and the Museum. Dates- 8/55-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to F. Anderson (Carnegie Corporation). Subject- Experimental use of Carnegie Collection of Materials for the Instruction of American Culture and funding of Collegiate Artmobile IV. Proposal, '\" An Artmobile for Virginia Colleges\", March 1965, Supplement, A Statewide Stimulus for Education in the Humanities, Statement of purpose, photocopy of partial grant payment. Dates- 1/58-7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Carnegie Corporation of New York and Carnegie Institute, Department of Fine Arts. Subject- Frances Benjamin Johnston acquisition, requesting a grant, requesting loans for inaugural exhibition, counsel on museum practices. Dates-8/35- 12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Carnegie Trust. Subject- a visit to Richmond by officers of three British Carnegie Foundations, information on Carnegie Trust 1954, etc. Dates- 8/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Secretary of Carnegie Dunfermline Trust. Subject- Roster of Carnegie Delegation visiting VMFA; Annual Report- Carnegie Dunfermline Trustees, 1960. Dates- 7/59-60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- job of Technical Director of the Theatre Division, etc. Dates- 6/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lists of 25th Anniversary donors; VMFA presidents and terms of office 1935-60. Essay- \" The Arts In Virginia\", Walter S. Robertson (Pres. VMFA). Essay- \"Collecting In America\", Alfred Frankfurter (editor and Pres., Art News) Dates- 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of orders for and purchasers of the Healy's Sitters Catalogues, thank you notes for exchange publications, list of relatives of Judge John Barton Payne, etc. Dates- 4/51-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Jaquelin-Ambler Portrait catalogs, listing of the members of the Jaquelin, Ambler and Broadnax families. Dates- 11/48-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- a fellowship set up by the Catherwood Foundation (previous owners of the Dali jewels) to be used for travel/education in Europe, information about transporting Dali jewels from the Museum. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fellowship for artists provided by the Catherwood Foundation and awarded and administered by the VMFA that year. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. William Gaines and L. Cheek, Jr. and M.B. Christison (Assistant Director). Subject- Gaines biographical information, Catherwood Foundation fellowship recipient, application, recommendations and award letter for fellowship, list and some photos of work submitted, etc. Dates- 3/56-11/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual luncheon and tour. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Century Lighting Co. Subject- lighting for the artmobile and theatre, etc. Dates- 6/53-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets from the Convention and Tourist Bureau (Richmond). Dates- 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- pamphlets from the Virginia Chamber of Commerce. Dates- 5/49-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Restoration of Old Botetourt Hotel, Gloucester, Va.; Programming instructions for \"Civilization\" Film Series; proposal and budget for statewide broadcast of Affiliate promotionals. Rosters of Affiliates, Chapters and Confederation Officers; Minutes of \"Executive Committee Meeting\", 10/72; maps, postcards, press release, newspaper clipping, photographs. Dates- 2/67-7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Winter Conference agenda, participants, newspaper clippings. Dates- 12/71-3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal and budget. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Affiliate/Chapter offices Museum Lecture/Tour; roster of Officers, speaking schedule, events, remarks for each engagement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prototype for letter to be sent from all VMFA Chapter Presidents to convince Legislature of the need for new building. Dates- 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dali Jewels. Date- 7/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. primarily to realtors and lawyers. Subject- sale of Cheek's property \"Faraway Farms\", information on sale of Chebry Co. property, etc. Dates- 6/50-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to T.C. Colt, Jr. from L. Cheek (when he was Chairman of the Fine Arts Department at The College of William and Mary and when he was Director at the Baltimore Museum of Fine Arts). Subject- art in Virginia, counsel on museum practices, etc. Dates- 12/36-1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- The retirement of L. Cheek, Trustee dinner honoring the occasion, presentation of \"Thomas Jefferson Public Service Award\", with remarks by Lt. Gov. F.G. Pollard; South Wing construction; invitations and newspaper interview with L. Cheek. Dates- 1/65-3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W.S. Robertson and Morton Thalhimer. Subject- Letters of moral support, press releases and newspaper clippings announcing the resignation of L. Cheek (decision later recanted). Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding L. Cheek's reconsideration of his resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resolution from VMFA Council regarding the outstanding contributions of L. Cheek. Includes letters from and too supporters. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Replies to his reconsideration of resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Text from interview of 11/2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- PR, decorations, lecture, etc. Dates- 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memo to VMFA staff, PR, agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Thank you letter from by a class participant.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding classes at the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Registration information and class lists.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison. Subject- installation of collections and exhibitions, Museum programming, biographical information, etc. Dates- 10/54-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. Christison. Subject- scripts and working papers for children's radio program (\"Treasure Trails\" on WRVA), listing of slides for Season Survey and information on a Life magazine photo exhibition entitled \"Egypt\". Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vouchers and receipts for travel expenses, 1948-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Christmas cards received by the Museum, a copy of the Museum Christmas card (1956), Information about a Christmas tree in the Members' suite, etc. Dates- 11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Commission of Virginia Artists to design Christmas Cards; rosters: Board of Trustees, A.A.M.D., newspaper clippings, cards, photographs. Dates- 1966-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- ordering Christmas decorations. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz, Sydney and Frances Lewis. Subject- Remarks by J.M. Brown on the dedication of the North Wing and on his resignation. Andrew W. Mellon Foundation, Lewis gift of funds for Art Nouveau purchases, Noland gift of \"Rotating Sphere\", reattribution of the Jewel casket. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Controversy concerning gift of Walter P. Chrysler, newspaper clippings, and Chrysler newsletters, 1973-75. Dates- 1969 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Henry Clay Hofheimer and J.M. Brown. Subject- New wing, correspondence between the Executive Board, the closing of the Chrysler Museum School, operating budget, accessions, list of objects. Minutes of Executive Board, 2/8/72. Transcript of William L. Parkers, et al complaints vs. Walter P. Chrysler Jr. et as Defendants. Dates- 1972 - 33 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Chrysler collection exhibition at the Museum and possible Artmobile tour, listing of pieces in collection, etc. Dates- 9/49-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Loan Exhibition for Church Silver of Colonial Williamsburg, outline for proposed exhibition, budget, letter drafts to Church Wardens, lists of Episcopal Churches owning Church Sliver, Format for catalogue. Dates- 7/68-4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about proposed reproduction in miniature of a Cigar Store figure from the Museum collection. Dates- 7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed reproduction in miniature of American cigar store figures from the Museum collection. Dates- 5/56-12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek Subject- Civil War Centennial Exhibition, agenda, maps, newsletters, VMT copy of \"Certificate of Award\", conferred on the Virginia Civil War Commission. \"Virginia Joins The Confederacy, Chronology of Events November 1860 through 1861\", Civil War Centennial, 1961-1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's membership on advisory council of the Civil War Centennial Commission, site development study for proposed Confederate Memorial Park in the Museum area, \"Report of the Preliminary Plans of the Virginia Civil War Commission to the General Assembly\" 12/59, etc. Dates- 5/59- 12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Programming, Ticket Stubs, newspaper reviews, news releases, photographs. Dates- 7/70 - 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Joseph Lucas (pres. Civitan Club) [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Resume of Cleveland Museum President, Sherman Emery Lee with photo, Cleveland Plain Dealer Interview \"Sherman Lee's Double Life\". Dates- 12/55-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Clopton complaint about film tickets. Dates- 2/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- membership in The Poetry Society of Virginia. Dates- 2/53-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr., to individuals, institutions and companies beginning with the letters Co-Cz. Subject- varied. Dates- 8/45-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., L. Cheek and J.M. Brown. Subject- Geri Melchers Memorial; Minutes of Annual Meeting 1962; Minutes of Executive Committee Annual Meeting 1962; restaurant feasibility. Dates- 1957-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arranging a lecture by Mr. Alexander S. Cochran, Architect in conjunction with the exhibition \"Domestic Architecture of the San Francisco bay Region\", biographical information, etc. Dates- 10/49-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, gifts. Dates- 6/54 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the American Association of Museums (AAM). Subject- copies of the Code of Ethics for Museum Workers 1925 AAM report. Dates- 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Remarks on \"The Relation of Trustees and Professional Staff of General Art Museums\", delivered by Charles Nagel 5/17/69,  \"Code of Ethics for Museum Workers\" 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rhodes Rathskellar, proposals for lunchroom: use by staff, volunteer personnel, policy on break schedule and lunch periods. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from P. Near and Peter Mooz. Subject- Checklist of the status, strength, weaknesses and needs of the VMFA. Damage report, gifts of artworks and accessions, Art Purchase Fund, press releases. Letters to Christo and Robert Rauschenberg. Dates- 1976-77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, letters, newspaper clippings and information from dealers, prices regarding possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, prices and other information relating to possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (assistant Director for Collections and Education). Subject- listing of possible additions to Museum's collections 1953, information and some photos of objects considered for acquisition, correspondence with art dealers, etc. Dates- 12/51- 11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- listing of possible additions to the Museum's collections, information and some photos about objects considered for Museum acquisition, correspondence with art dealers, etc. Dates- 1/53-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near, F. Brandt and P. Mooz. Subject- Reorganization of the Collector-of-the-year. 1975- Mrs. Lummont du Pont Copeland Collection on Export Porcelain. 1977- David Lloyd Kruger Collection of Contemporary Art. 1978- Hugo Weisgall Collection, list of objects, copies of scores for the Weisgall Concert catalog. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from P. Near to members. Subject- Collectors circle event with lecture by Caroline Keck. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Cultural exchange, Minutes of Executive Committee of C.A.A., 1/62, 4/62, Minutes of Annual Meeting, 1971; Minutes of C.A.A. Business Meeting, 1/62; revised draft of \"Policies and Purposes\", roster of officers, Directors and committee members; Essay- \"The Visual Arts in Higher Education\". Dates- 1/62 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List for reception/cocktail party, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Preston L. Collins (Lt. Governor). Subject- announcements of Trustee meetings, invitations to Museum events, replies, etc. Dates- 5/51-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. to staff of Colonial Williamsburg. Subject- museum methods. Dates- 7/46-12/54.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- general correspondence with staff of Colonial Williamsburg, information on Cheek's speaking engagement with Williamsburg Rotary Club, etc. Dates- 2/54-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and the President of Colonial Williamsburg. Subject- loan of display units to Colonial Williamsburg, museum practices, etc. Dates- 3/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Colonial Williamsburg. Subject- correspondence about the Williamsburg Antiques Forum, publications/mailings about Antiques Forum 1964,'66,'67,'73, etc. Dates- 5/66-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- detailed letters about the goings-on at the Museum while Colt was serving in WWII, also letter from Mrs. Alfred DuPont about art education. Dates-8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. J.G. Pollard and others. Subject- record of Colt's military service, his resignation to serve in WWII. Dates- 11/42-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Columbia Records presented 55 recordings of the New York Philharmonic Orchestra to the VMFA in 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of \"On Fine Arts in Modern Society: A Research Proposal Prepared for the Virginia Museum of Fine Arts by the Columbia University Bureau of Applied Social Research\". Dates- 5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices with The Columbus Gallery of Fine Arts (Columbus, OH) and Columbus Museum of Arts and Crafts, Inc. (Columbus, GA). Dates- 3/51-8/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to the Board, list of appointments, etc. Dates- 1959-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of committee appointments 1963-4, invitations to Trustee committee appointments, etc. Dates- 8/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to Board and replies, list of appointments, etc. Dates- 1958-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and W.S. Robertson (VMFA President of the Board). Subject- VMFA roster of Trustees 1964-5 and 1965-6, Board committee appointments 1965-6, invitations and responses to Trustee committee appointments, letter about Board term limitations (proposed limitation 2 successive terms of 5 years each), etc. Dates- 6/64-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek correspondence as a member of Committee for International Cultural Exchange (CICE), etc. Dates- 6/61-2/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- suggested projects for Public Relations and Development committees, proposal for the Museum by the P.R. counseling firm Earl Newsom and Co., etc.. Dates- 3/54-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from State Department of Purchases and Supply. Subject- information about choosing stationary, samples for new state letterhead. Dates- 9/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"A Report to the Virginia Museum of Fine Arts 11/19/58\" from the viewpoint of its public relations information and communications responsibilities and program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- information and memos about arrangements for community college presidents to meet at the Museum. Dates- 12/70- 1/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- cooperative arrangements between VMFA and Va. community colleges, Virginia Community College System Annual Reports 1969/70 and 1970/71, proposed programs for community colleges, etc. Dates- 10/70-8/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complaints from Museum visitors about exhibitions, entrance fees, membership rates, guards, etc. Dates- 12/63-7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Museum operations: food service, VMT, membership, discontinuation of dinners in the galleries and newspaper clippings. Dates- 1974 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- guest list for complimentary cocktails in honor of officers and Museum volunteers from the Council, Jr. League and Theatre Affiliates, roster of Jr. League officers 1970-1, etc. Dates- 9/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Erwin H. Will (VMFA President of the Board). Subject- arrangements for a luncheon held in honor of officers and Museum volunteers from the Council, Junior League and Theatre Affiliates, guest list, suggested remarks for Mr. Will at luncheon. Dates- 9/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- miscellaneous Thank you's and compliments about gift and exchange publications, exhibitions, programs, the Museum in general and Cheek's responses. Dates- 2/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence from the public complimenting the museum in some way. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. and W.S. Robertson (President of the Board of Trustees). Subject- Complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 7/60-12/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 1/64-11/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on programs, theatre productions, museum in general and his responses. Dates- 7/66-10/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Various museum operations. Dates- 1972 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- compliments about 25th anniversary exhibitions, events and catalogue: Treasures in America, \"A Tribute to Virginia's Unique Museum\"-a Sunday newspaper supplement, etc. Dates- 1/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for VMFA European catalogue, an exchange publication. Dates- 5/66-9/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Faberge catalogue: Russian Imperial Jewels, a VMFA exchange publication. Dates- 12/60-2/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- compliments and thank you's for gifts/exchange publications of Russian Imperial Jewels, the catalogue of the Museum's Faberge collection. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Architecture in Virginia, a VMFA exchange publication. Dates- 2/68-5/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for William Hogarth, A Loan Exhibition of Paintings, Drawings and Prints, a VMFA exchange publication. Dates- 1/67-3/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Painting in England 1700-1850, Collection of Mr. and Mrs. Paul Mellon, a VMFA exchange publication. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on \"Painting in England\" exhibition (Mellon Collection) and his responses. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for The World of Shakespeare, a VMFA exchange publication. Dates- 1/64-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Form letter from the President to potential members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J. G. Pollard. subject- Letters to Trustees regarding 25th anniversary fund and letters to new members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- performance at Mosque of \"The Confederacy\" as a benefit for the Artmobile, project later abandoned, Date- 11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- drawings of the site of the Confederate Memorial Chapel, landscaping plans, etc. Dates- 7/66-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Richmond Times-Dispatch article \"The Old Soldiers Faded Away Home Here is Vacant\". Dates- 1/16/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitation to Director of the Norfolk Museum to Confederation workshop. Dates- 5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- congratulation and reply letters on the installation of Mr. James M. Brown as VMFA Director. Dates- 6/69-6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of objects from the Glasgow bequest and purchase fund currently exhibited in Museum galleries. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Mrs. Anthony Congreve. Subject- biographical information on Arthur and Margaret Glasgow, correspondence about Glasgow fund for purchasing works of art, listings of purchases made with Glasgow Endowment Fund 1966-72. Dates- 11/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz. Subject- Physical plant restoration project: cleaning of VMFA interior and extensive improvement of motor park, project data summary, Conservation Laboratory: construction and equipment, supply expenditures, budget. Grant application: \"Proposal for Virginia Museum Conservation Laboratory\", employment contract, job descriptions, resumes of prospective applicants. Dates- 1975 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- biographical information arrangements for giving lectures/seminars at the Museum, VMFA Members' Bulletin vol.23, no.9 5/63, etc., Date- 11/50-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for securing speakers for the \"Fireside Series\" proposed art talks held in the library, Thank you's to speakers, etc. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loans of objects between VMFA and Corcoran Gallery of Art, correspondence about museum practices. Dates- 3/51-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Katharine Cornwell. Subject- biographical information on this actress, invitation to come to Richmond to see a show and promote TheatreVirginia. Dates- 5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets and post cards from the Corning Glass Center. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information on obtaining assistance from philanthropic organizations and corporations, etc. Dates- 2/55-12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by E.H. Will (VMFA President of the Board). Subject- solicitation letter for corporate patrons, information on corporate patrons program, roster of Richmond corporate patrons 1970, invitations to corporate patrons gala, etc. Dates- 12/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by E.H. Will (VMFA President of the Board). Subject- solicitation of corporate patrons, pamphlets about corporate patrons program, publications for the corporate patrons gala, etc. Dates- 7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- roster of Richmond and of state corporate patrons 1971, planning for \"Fete Aux Galleries\" the corporate patrons event 1972, invitations and guest list for event, etc. Dates- 6/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Exhibitions, condition reports, insurance, gifts and purchases. Essay- \"Successful Adult Museum Programs\", M. Christison. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Velz.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) primarily, also L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- varied. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- General correspondence regarding publications, museum practices, exhibitions, pamphlets. Letter from Alexander Calder. Dates- 7/56 - 12/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Ford Foundation grant-in-aid program, Fogg Conservation Symposium and the Chrysler Collection. Photographs, cesolution recognizing the outstanding contribution of L. Cheek by the VMFA Council. Draft of \"Standards For Museum Practices\", SEMC, 1958. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition of American Silver, jurors for 1965 ADP exhibition, biographical data, 25th Anniversary exhibition and list of objects for loan. VMFA film series, press releases for \"The Little International\" from the Olsen Foundation and the Artmobile. Dates- 1958 -1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and VMFA Council officers. Subject- Council roster 1957-8 and 1958-9, listing of charter members, council-sponsored events and programs, lecture series schedule 1957-8 and 1959-60, statement of purpose of the Council, minutes of general meetings 1962 and'65, Executive Committee meeting minutes 1962 and '63, acknowledgments of gifts to the Museum, etc. Dates- 7/56-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown with the VMFA Council. Subject- Council gifts, Council -sponsored events and programs, preliminary drawings for Council shop office, breakdown of Council Contribution Fund 10/70 and 11/70, etc. Dates- 2/66-4/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for corporate patrons ball, roster of Richmond and of state corporate patrons, roster of Council committee for the ball, invitations and guest lists for ball, etc. Dates- 10/70-3/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- outline of the organization of the VMFA Council, Council Program 1955-6, Council of the VMFA Charter Meeting and Articles of Association, \"Friends of the Museum Constitution\", etc. Dates- 5/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- VMFA Council Contribution Fund analysis 1971 and'72, various Council sponsored events and programs, agreement between VMFA and the Council 10/20/70, A Short History of Council Gifts to Museum 1955-71, The Council of the Virginia Museum Directory 1971-2, general correspondence between Council officers and VMFA staff, etc. Dates- 1/71-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Council Trustee Contribution Fund, conservation laboratory, library, state services, fellowships and internships. Profit and loss statements, general ledger trail balance, Art Purchase Fund, staff expenses, VMT financial statements, matching funds for NEA Grant. New Council Shop, furnishings, installation, etc. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposal to establish fellowships for professional craftsmen (resident Craftsman Program), letters from interested craftsmen, etc. Dates- 2/63-2/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- proposal of a story about the Museum for Time-Life magazines, reference made about a reproduction of a Watteau from the Museum's collection appearing in Time. Dates- 11/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Monica Hamm and P. Mooz. Subject- Head of publications, editor of AIV and advisor for photography exhibitions. \"Focus On The Arts\", Pat Becker. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- fact sheet about VMFA, House bill no.862 was about establishing a Virginia Commission of the Arts and Humanities, transcript of the VMFA presentation by E.H. Will (VMFA President of the Board) to the Virginia Assembly, Rules Committee asking to kill or amend the bill, etc. Dates- 1/68-2/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- roster of Virginia Cultural Development Study Commission and of the State Arts Committee, information about the creation of the Va. Cultural Development Study Commission by Senate joint resolution no.67, essay- \"The Virginia Museum and the Arts in Virginia\", correspondence about meeting with the Cultural Development Commission, \"Dissenting Opinion Report of the Cultural Development Commission\" by Dr. William H. Higgins, Jr., member of the Commission, etc. Dates- 3/66-1/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"D\". Subject- varied. Dates- 3/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- VMT, exhibition schedules, Byzantine Architectural exhibition, College Drama Festival, loans of art works, Artmobile, Horace Day, NEA proposal, pamphlets, magazine excerpts, cards, biographical data, etc. Accessions and gifts: \"The Meeting of Joachim and Anna Under the Golden Gate\", A. Duer. Dates- 10/58 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Conference for teachers and students of Dance at VMFA, master classes, lecture and performance by Alwin Dance Theatre, agenda, list of dance teachers. Date- 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, AIV. Dates- 1/61 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Virginia Architects, Designers and photographers\", Collectors Circle, Va. Artists Biennial, donations, gifts, memorial fund. Dates- 6/59 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, acting director of the Museum and Governor Darden, regarding the Museum director and the Curator of Decorative Arts, who were both on leave to the armed forces during World War II, 1942-44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with and biographical information about Carson Davenport, Virginia artist. Dates- 1936-1944.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Ms. Davis. Subject- visits to \"Faraway Farms\" (Cheek's property) Davis was apparently a housekeeper/caretaker of some kind. Dates- 2/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and donors Mrs. Lincoln Davis, and George Cole Scott and Hildreth Dunn Scott, 1937-43.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., E.M. Davis, III (Curator) and L. Cheek, Jr. Subject-restoration of Mrs. Davis' Flemish painting, gifts from Mrs. Davis, information on Museum Board accessions committee (Mrs. Davis member), etc. Dates- 10/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. Lincoln Davis. Subject- Trustee/Museum business, letter of resignation from Board, etc., 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Elizabeth Nottingham Day and Horace Day, patrons and donors, 1934-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Day's exhibition at the VMFA. Dates- 1/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard to Mr. and Mrs. Horace Day. Subject- Horace Day biographical information, exhibition record, job recommendation, newspaper editorial written by Mr. Day on American Painting, etc. Dates- 1950- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Mr. Howard Dearstyne. Subject- proposed exhibition of Dearstyne's work and speaking engagement, etc. Dates- 11/50-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chamber Music Society, Building grounds committee, gifts, donation. Dates- 1954-65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to the Earl de la Warr. Subject- a visit to Richmond by the Earl, loan of a painting to the Museum exhibition \"England's World of 1607\", etc. Dates- 4/57-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. Marie de Mare. Subject- catalogues of \"Healy's Sitters\" exhibition ( Mrs. de Mare was Healy's grand-daughter), proposed film and biography of Healy by Mrs. de Mare, etc. Dates- 5/49-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His position as Art Director of AIV, music and dance folders. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from D. Nichols (administrator), F. Haseltine (PR). Subject- VMT subscription, Executive Committee Report, Collections Activities, Public Information Report. Dates- 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- information about an exhibition scheduled From Nov.22-Dec.31, 1955 featuring merchandise available for purchase in time for Christmas. Dates- 9/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Traveling exhibition. Dates- 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- International Traveling exhibition. VMFA and Leslie Cheek were the American coordinators from 1951-1954. Lists of attendees at the opening dinner 1/15/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Design in Scandinavia\" exhibition checklist, description of the exhibition, official record of receipt and list of items received but not included in exhibition, etc. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- RSVP's to dinner held on the opening night of the exhibition \"Design in Scandinavia\". Dates- 12/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., Mrs. J.G. Pollard and M.B. Christison. Subject- exhibition catalogue information for \"Design in Scandinavia\" and RSVP's for dinner held on the opening night of the exhibition. Dates- 12/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- American Tour 1954-57. Correspondence and publicity regarding. AFA took over the circulation of the exhibition.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committees in the United States. Lists of members and minutes from meetings 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Favorable reviews of the exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copy of a New York Times article written by Cheek concerning the upcoming exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening of the exhibition at the Museum, January 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- dinner guest lists, menu, planning for opening night dinner for \"Design in Scandinavia\" exhibition, list of Board of Trustee committee appointments 1953-4, registration for Southeastern Museums conference 1953, etc. Dates- 12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- RSVP's for the dinner and other opening events for the exhibition \"Design in Scandinavia\", exhibition catalogue, information used in planning printed material for the exhibition, etc. Dates- 4/53-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject-job description of a designer for the Design and Construction division of the Museum, proposed hiring of a designer, etc. Dates- 2/54-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- floor plan and printed matter for \"Designer-Craftsmen USA\" exhibition, photos of the exhibition, VMFA Member's Bulletin vol.15, no.5 (1/55), etc. Dates-11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Strauss. Subject- 25th Anniversary, draft of appeal to enlarge endowment fund, pamphlet. Dated- 6/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for a diorama in connection with \"Orientations of Virginia's Cultural Background\", photographs. Dates- 7/61 - 6/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resolution by the Executive Committee to authorize excess travel cost by VMFA staff. Dates- 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trip itinerary, pamphlets. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Fowler, D. Nichols, B. Ryan. Subject- All manner of VMFA operation: photography budgets, payroll dispersal, VMT renovation, Artmobile, damage and security of Art works, gallery installation, loans, art purchase invoices, Theatre contract, repairs and modification invoices, grievance procedure, pamphlets, Interpol investigation of Indian sculptures, requests for establishing new positions: Vice Director for Public Affairs and Artmobile curator. \"Partnership Agreement of Artco and Company\", \"Operation Countdown\", analysis of responsibilities and time required for completion of the North Wing. Photographs, pamphlets, announcements. Accessions and gifts: 17th C. Eng. Embroidered Casket, Byzantine Bronze Plaque, Tomato Soup Can (A. Warhol), Bolt of Lightening (R. Lichtenstein), Portrait of a Lady, Payne Collection. Dates- 1/68 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, F. Haseltine, D. Nicholas, J.M. Brown, P. Near, A.W. Stalnaker, B. Ryan, Mrs. Pollard. Subject- All manner of inter-museum operations: Public information schedules, membership campaign, promotion deadlines, travel itineraries, budget proposals, etc. P. Nears observations on possible acquisitions. Dates- 7/64 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters of request, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Secretary to the museum, biographical data, job description. Museum files and the law regarding public information, records management, records to be retired, list of file classification: deletions and additions. Events schedules, agendas and exhibitions. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, A. Dohn. Subject- Letter of recognition of donations, list of donors and their gifts of art works. Dates- 1964-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Chenery Estate and Gottwald endowment Fund. Art Nouveau gift of Sydney and Frances Lewis. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMT, Fellowship Fund, Museum Classes, Chenery Estate, Art Nouveau Fund, Artmobile and Gottwald Endowment Fund. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Buyers guides, pamphlets, magazine excerpts, specifications, blueprints, lists of chapters and affiliates, photographs. Dates- 9/61 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, and L. Cheek. Subject- Gift of Dunsten Memorial, Payment record, gallery proposals, \"The Virginia Museum Needs New Wings\": appeal to membership and Trustees for building funds. Dates- 12/46 - 4/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. Alfred I. (Jessie Ball) Dupont. Subject- Donations. Contains a letter regarding her feelings in favor of segregation at the museum and in the arts. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jessie Ball duPont's membership on the Executive Board, gifts and donations. Dates- 5/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Jessie Ball duPont. Subject- Membership as a Trustee, Fellow, Chair of 25th Anniversary Fund drive, contributions and gifts, magazine excerpts, biographical information, contributions and gifts, progress report from Anniversary Fund Drive. Dates- 2/59 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and D. Hudson (state coordinator of Arts System). Subject- Salary scales for VMT, NEA grant proposals. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Exhibitions, Artmobile, VMT, Va. Fellowships, search for potential jurors, work schedules invitations, newspapers, postcards, etc. Accessions and gifts: \"Autumn Leaves\", A. Palmer. Dates- 5/46-5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agenda and letters to K. Fowler of VMT. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Wm. Heartwell and Gov. Holton. Subject- \"Minutes of Economic Resource Task Force Meeting\": 7/23/71, 9/2/71, 10/8/71, 1/13/72, 4/20/72, purpose of task force was to improve communication between various agencies and the governors office. Draft of Executive order: relationship of state agency organizations to Commonwealth planning districts, budget estimates, agendas, Bills held in House Committee for the 1973 General Assembly. Dates- 1971 -72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- C. Guinnan request for a meeting room. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from A. Stalnaker and H. Dohn. Subject- Events for Governors School for Gifted Students: schedule, housing, food service, etc. Dated- 7/73- 8/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between A. Dohn and Mr. Albertia. Subject- Student application, agendas and statement of purpose. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Event to expose students to the function, organization and operation of VMFA, timetable and agendas. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and B. Bothmer (Egyptologist, BMFA). Subject- Invitations, list of Egyptian art objects available for purchase. Dates- 9/54 - 11/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Requests for films and slides, Artmobile, loans for Egyptian Gallery, statement/remarks for opening exhibition, newspaper clippings, blueprints. Dates- 2/55 - 12/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Suggested remarks related to \"Installation of a Gallery of Egyptian Art\", loans from other museums, agendas, letters to other curators and directors. Gift of Egyptian Gallery from Mrs. James Parsons. Dates-2/61 - 4/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- early planning stages of the exhibition \"England 1607\", list of pieces in, list of lenders to the exhibition, installation schedule and exhibition description, printed materials, \"Status Report on the Museum's Jamestown Festival Program\", etc. Dates- 6/54-8/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gallery opening made possible through gifts of china from Lady Nancy Astor, invitations and loan requests. Dates- 4/61 - 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- invitations to these exhibitions: \"Masterpieces of Chinese Art\" and \"Russian Imperial Jewels\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedules 1946, 1946/7, 1949, 1950, Entertainment Committee announcements and replies, committee report 1946, committee roster 1949/50, biographical information on the following Museum guests: Yasuo Kuniyoshi, John W. Taylor, Charles W. Smith, Reginald Marsh and Lamar Dodd, etc. Dates- 1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedule 1946/7, 1950, 1951, 1952, 1953, 1954, Entertainment Committee rosters 1950/1, 1951/2, 1952/3, proposed Friday evening events 1950/1, committee meeting minutes 1952, biographical information about George T. Hamilton, etc. Dates- 1946-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, VMFA Entertainment Committee schedule 1954, 1955, 1956, announcements and minutes of Entertainment Committee meetings 1951, 1953, 1954, 1955, 1956, etc. Dates- 1951-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee roster, Entertainment Committee schedule 1955, meeting announcements, biographical information about the artist Donald Oenslager, etc. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, announcements and replies for VMFA Entertainment Committee meetings, roster of Entertainment Committee, committee schedule 1955, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. Arthur Kelly Evans. Subject- a bequest to the Museum from Mrs. Evans, etc. Dates- 11/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- proposal for fundraising project for VMFA Council in fall 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- 60the Anniversary of the AFA meeting and symposium in Williamsburg, registration forms. Dates- 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agenda, timetable and luncheon for behind the scenes tours by the Council. Date-1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Benefit for the Council Service Fund, program, menu. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Museum in Action\": documentary of VMFA galleries and statewide activities, preview agenda, press dinner, invitations. Producer: Richard Rochement Narrator: Alistair Cooke Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for VMFA banquet services. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Exhibition: \"Treasures from the Norfolk Museum\", Governor's reception, program agenda. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gallery plan, staff assignments and program. Dates- 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reinstallation of the permanent galleries. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Members dinner dance event, invitations, guest list. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Glasgow Estate, Jamestown Tablet. Reception for Committee on Law Celebration. Dates- 12/58 - 4/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Members preview and reception: timetable, program, invitations, gallery plan, etc. Jack Larsen: lecture and biographical data. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of invitation to members of Virginia Chamber Music Society to attend a Theatre-Dinner. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Inauguration of a monthly series of theatre Dinners, guest list, letters of invitation for event and menu. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition: \"Designs for the Theatre\" Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reception for British group of scholars and collectors and travel itinerary. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- A British organization on American Tour. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Meeting at VMFA for NCEW: an organization to stimulate the conscience and quality of the American Editorial page. VMFA Executive committee minutes, biographical data, program agenda. Dates- 7/58 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of request for use of VMFA Gallery for Dinner, agenda, timetable. Dates- 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Tour routes, agenda and schedule of events for reception and letter to new members. Dates- 9/68 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of invitation to reception, tour of museum, agenda, timetable, etc. Dates- 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. Breeden (Membership Chair). Subject- Procedure and agenda for members reception and tour schedule, press release, invitations, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Haseltine. Subject- VMT Premiere performance and promotion. Dates- 5/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- exhibition: \"Treasures of the Norfolk Museum\", program/dinner agenda, invitation, etc. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Arthur Houghton. Subject- Preliminary event outline, layout, program agenda, procedure, invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Annual event to honor corporate patrons: entertainment, decorations, invitation list and suggested remarks to be delivered by President, E. Will. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Private advanced performance of \"School For Wives\", biographical data on Peggy Wood. Dates- 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Rhoads. Subject- Agenda and sample of invitation. Dates- 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Gregory Peck. Subject- Grand opening of Virginia Theatre Arts System, events schedule for preview, Letter from Gregory Peck. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Library reception and banquet for college Presidents attending the Drama Festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner and Theatre Party: agenda, invitations. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters of request and agenda for Theatre Dinner Party. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Rhodes and E.M. Last (Chair, RLS) Subject- Performance of RLS at VMT, ticket sales and cost estimates. Dates- 1/65 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of request for VMFA services. Dates- 4/31/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Robinson House formerly the Scientific Research Organization, VMFA headquarters for LOAS, adult classes and resident craftsperson, Invitation, Historical background, Bulletin vol.24 no.7 4/64 Dates- 8/62 - 3/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Helen Dohn. Subject- Smith College dinner with lecture by Charles Chetham, Director of Smith College Art Museum, agenda, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- The VMFA Council, Theatre Affiliates, President's Dinner. Music, Dance and Film Societies. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The Hospitality and Information Service for diplomatic residents and families. Dates- 1968. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- three day seminar program of multi-level experience in the Arts For exceptional Virginia Youths, agendas, etc. Dates- 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMFA luncheon and tour. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Paintings and drawings by E. Vedder, speaker. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for contributions. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: Hugh Newell Johnson. Reception, guest list and agenda. Exhibition catalog. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Harry Bertoia, Sherman Lee. Subject- General correspondence regarding juror service. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Sherman Lee. Subject- Jury Chair: Sherman Lee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Juror: William Pahlmann. Event program agenda, invitation, guest list, etc. Catalog: \"Virginia Interior Designers 1973\". Dates- 10/72 - 3/73 \"Virginia Interior Designers Reception Fri. 16 Mar.,  1973, 5-7 p.m.\" Subject- Invitation. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, W. Gaines and H. Dohn. Subject- Schedule of events, exhibitions, Bicentennial Celebration. loans, gallery tours, calendar news, Invitation for the \"India In Virginia\" exhibition. Dates- 8/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains minutes, agendas and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas, 1954-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, announcements, agendas and minutes of VMFA Exec. Committee meetings 1955, 1956, etc. Dates- 9/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, VMFA Exec. Committee minutes 1956, list of Exec, Committee members 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and William J. Rhodes, Jr. (President). Subject- Trustee/Museum business Exec. Committee meeting agendas 1954, 1955, 1956, Museum finances (pay scale, Director's allowable expenses, approvals for purchases) VMFA Committee appointments 1956-7, etc. Dates- 6/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. and Col. Henry W. Anderson (President). Subject- Trustee/Museum business, VMFA Exec. Committee meeting minutes 1950, 1951, 1952, 1953, listing of members of the Exec. Committee 1950, 1951, Exec. Committee resolutions 1950, 1951, 1953, By-Laws revised and adopted 1951, etc. Dates- 1950-3. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- Executive Committee minutes, copies of Exec. Committee minutes 1953, 1954, 1955. Dates- 12/53-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Gari Melchers Memorial Committee, VMFA Exec. Committee minutes 1956, list of Exec. Committee members 1956, etc. Dates- 4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Trustee/Museum business, VA Art Alliance, Williams Fund purchase, VMFA Exec. Committee agenda 1952, 1953, 1954. Dates- 5/51-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W. Gaines, R. Velz, M. Christison. Subject- Roster of large Richmond firms and number of employees, invitation cover letter, remarks to be delivered after luncheon. Dates- 9/63 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- lists of proposed exhibitions, events schedule for 1955-6 season, roster of members and schedule of the entertainment committee, drama schedule for Virginia Museum Theatre, etc. Dates- 7/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Notable lecturers and AIV contributors, biographical data. Jurors: Charles Eames, Morris Ketchum and Bert Stern. Dates- 1967 – 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Budgets, loan requests. \"Picasso: A Selected View\", \"12 American Painters\", List of Art Works, biographical notes test for the catalog: \"The Flowering of American Folk Art\". Catalog: \"American Painting 1970 including correspondence with Richard Diebenkorn. Dates- 1970-1974. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Bernard Martins' \"Portrait of Edward Hopper\", \"Walter Gropius - 1883 - 1969\", \"Jose Puig\", projected budget, attendance records, requests for loans, receptions events schedules, etc. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Engineering projects around the world, assembled to illustrate the aesthetic impact of technology. Cost estimates for exhibition, speakers and invitations. Dates- 7/64 - 1/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Outstanding objects in American Museum collections that are gifts or have been purchased with contributions from patrons. Event arrangements/planning. Requests of loans and press releases. \"A Brief History of the Virginia Museum of Fine Arts\", by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition \"Homage to the Square\", signed letter from Elaine de Kooning. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening festivities of the Aldrich Collection of Impressionist and Post-Impressionist paintings and sculpture. Catalogue: \"The Aldrich Collection\", foreword by L. Cheek. Dates- 11/58 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: Bartlett Hayes. VMFA purchases from exhibition. Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: C.V. Donovan. Request for loans from other galleries. Dates- 1962 , 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Al Held. Subject- Juror: Peter Selz. The removal of artwork from the wall of the VMFA for a period of one week in demonstration of racism, war and repression in America. List of paintings to be shipped and installation instructions. Dates- 9/69 - 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Search for a disposable cardboard shelter for use in a traveling sculpture exhibition to the Chapters and Affiliates. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Juried exhibition of Virginia Architects, Designers and Photographers. American Painting exhibition. Dates- 1964, 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt, Sydney and Frances Lewis. Subject- Art Nouveau exhibition: request for loans, lists of objects, opening event agenda, timetable, invitations, etc. Lecturer: Robert Koch. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. H. Bache and P. Near. Subject- Collector-of-the Year: Pre-Columbian gold collection, list of objects, letters to members of Collectors Circle. Dates- 196 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for flags from Embassy of the Federal Republic of Germany. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Kent Bicentennial Portfolio: \"Spirit of Independence\", prints by 12 Contemporary American Artists. Rockefeller Collection of Picasso Tapestries. Dates- 11/74 - 11/75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Phillip Hofer. Subject- Philip Hofer: biographical data and lecture on Blake. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Block as Collector-of-the Year (1967): Collection of 19th and 20th century watercolors and drawings, reviews and agendas. Dates- 10/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum of Modern Art exhibition \"Art Lending Service Retrospective\", lecture by MOMA Junior Council President Lily Auchincloss, lending services, expenses and pamphlet. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibit on ancient Chinese treasures. Date- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases for Virginia's Civil War centennial Exhibition and celebration at the VMFA, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- C. Conger (White House Curator) and his collection of interior furnishings. Heeramaneck Collection. Dates- 1967, 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Blumka Medieval Collection: Preview, program agenda, invitations, etc. Damage report to Gothic Cut Velvet Cloth, Conservators report and insurance claims. Dates- 1/73 - 5/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Exhibition of Tapestries from the House of Edgeworth and paintings, prints and drawings. Lecture, list of objects, PR, gallery plan, invitations, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek's service as a juror for \"International Glass\", gallery plan, photographs, list of jurors choice objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition \"Robes from the Forbidden City\": lecture by Alan Priest on Chinese Textiles. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt and P. Near. Subject- Virginia Photographer 1971, juror: Harry Callahan. Mourot Collection of porcelain. Exhibition schedules, lectures, gifts, loans of art objects, roster of Trustees. Catalog: \"Virginia Artists 1971\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Davies exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and H. Gummerus (Finnish Society of Crafts and Design). Subject- Gummerus lecture on Finnish design. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibition of Tutankhamun. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Bernard Von Bothmer (Brooklyn Museum). Subject- Von Bothmer account of his discovery fo the missing portion of VMFA fragment of Sema-Tawy-Tefnakht. Conservation and restoration of scribe, magazine clippings. Slides and photographs. Dates- 12/64 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. L.J. Dee (Cooper- Hewitt) Subject- Her Lecture to VMFA. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture by Buckminister Fuller, biographical data, catalog, installation, invitations, etc. Dates- 1/59 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contemporary Art forms of Israel. Lecturer: Avid Yafeh. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturer: John Walker. Invitations, entertainment. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Gaines. Subject- Documentation of the making of George Steven's film. Installation, design, floor plans and cooperating agencies. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Herbert Hoffman, Perry Rathbone and Patricia Davidson. Subject- Bill S.2273: to enable works of art and other materials imported for temporary exhibition in non-profit activities to be immune from judicial process. Description of objects for possible acquisition. Exhibition design, installation, VMFA and BMFA gallery plans, invitations, etc. Dates- 9/63 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Rathbone and H. Hoffman. Subject- Loans of Greek gold from the Hermitage and other institutions. Appeals to the State Department regarding Bill S.2773. Dates- 3/64 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Christine Alexander. Subject- Alexander's service to VMFA consultant on Greek and roman acquisitions. Exhibition lecture by Dorothy Kent Hill. Dates- 12/61 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Western art in Virginia collections, loan requests, film series, invitations, program agenda, etc. Lecturer: Larry Curry. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Perry Rathbone and Nasli Heeramaneck. Subject- Installation and acquisitions from the Heeramaneck collection. Lecturer: John Alexander Pope (Freer Gallery), newspaper clippings. Dates- 12/66 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon and Lessing Roswald. Subject- Request for loans, receiving and storage of objects. Event invitations, agenda, etc. Lecturer: Philip Hofer. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and John Koenig. Subject- Proposals for the filming and documentation of an epic film: research, selection, documentation, etc. Proposals were originally made to Samuel Goldwyn and Cecil B. de Mille. Dates- 7/55 - 2/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Goodrich. Subject- Requests for loans from various collections. Text for catalog forward by L. Cheek, and essay by Lloyd Goodrich. Biographical data and newspaper clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Events schedule, agenda, invitations, pamphlets. Lecturer: Robert Doty. \"Portrait of Edward Hopper\" and drawing studies by Virginia painter, Bernard Martin. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Exhibition of art from Virginia Collections to commemorate the 10th anniversary of AIV. Request for loans, invitations, members preview, agenda, list of objects for exhibition. Lecturer: Thomas E. Norton, biographical data. Dates- 7/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Acquisition of Indian art collection. Dates- 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition of works by French artists commissioned by Claude Aveline to illustrate his poem \"L'Oiseau que n'existe pas\". Lecturer: Lawrence Alloway, biographical data. Members Bulletin vol.24 no.8 4.64. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Anne Marie Pope. Subject- VMFA display areas. Date- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt and P. Near. Subject- Art Nouveau Loan, list of Lewis gifts and purchases. Dates- 1971 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and C.S. Hathway. Subject- Lecture search. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Biographical data, agendas, timetables and invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Islamic rugs circulated by the Smithsonian Institute and lecture by McMullan. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J. Baskett and P. Mellon. Subject- List of paintings from Mellon Collection. Gallery preparation, storage, costs, opening festivities, interpretation of exhibition, letters to print media. Press release, newspaper clippings. Lecturers: W.G. Constable, John Baskett and Basil Taylor. Essay- \"Painting In England, 1700-1850\". Dates- 8/62 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Paul Mellon. Subject- Mellon English Painting Collection, early discussion concerning the scope and preparation of catalog and exhibition. \"Letter from Basil Taylor Dated-23 January 1963 re: Mellon Show\", letter of disgruntlement over the various stages of the Mellon catalog. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Basil Taylor. Subject- Mellon Collection of English painting, initial planning stages, lectures, installation, catalog, etc. Dates- 11/61 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Paul Mellon. Subject- Exhibition: \"Painting in England\", program of events, invitations, gallery plan, program, invitation, guest list, etc. Dates- 5/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon and Basil Taylor. Subject- Basil Taylor, advisor tot Mellon collection and author of exhibition catalog: \"Painting in England, 1700-1850\". Catalog foreword by L. Cheek. Dates- 12/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations and dinner programs. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Installation, catalog, security, lecture. List of slides, media coverage. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Remarks by Paul Mellon on exhibition opening, mock-ups of booklet form. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Full color photographic reproduction of the \"Sistine Chapel\", exhibition circulated by LIFE magazine. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Demonstration of mosaic technique using contemporary materials. Dates- 5/54 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Henry Moore. Subject- Aid of Helen Norman (neighbor to Moore) on establishing a dialogue with the VMFA concerning an exhibition and visit by the artist. Preliminary exhibition plans. Dates- 10/57 - 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Henry Moore. Subject- Preview and opening night arrangements, newspaper clippings and press releases. Dates- 5/65 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Neutra. Subject- Exhibition and speaking tour by the artist. Dates- 6/59 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Goya exhibition: request for loans of works by Goya, announcements, invitations, list of paintings, Dr. Priscilla Muller (curator and speaker for exhibition). Program agenda. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturer: John S. Szarkowski. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and James Rorimer. Subject- Exhibition of Contemporary photographs. Biographical data on Ivan Dimitri and A. Hyatt Mayor. Catalog: \"Phototgraphy in the Fine Arts\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- proposed exhibitions, information about traveling exhibitions, etc. Dates- 10/48-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Perry Rathbone. Subject- Pre-Columbian gold with lecture by Allen Wardwell. Dates- 4/67 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Vincent Price as Collector-of-the-Year. Date- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- African collection from the Olsen Foundation. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Una Johnson (Brooklyn Museum). Subject- Contemporary prints from the Brooklyn Museum, invitations and announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition of the American Institute of Graphic Arts 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Gaines, F. Brandt, Anne Marie Pope. Subject- Reinstallation of the permanent collection, estimated exhibition costs, Heeramaneck collection, list of exhibitions available form International Exhibitions foundation. Exhibition catalog: John Kelly Fitzpatrick\" , photographs. Dates- 9/68 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Quillian. Subject- Exhibition of Randolph-Macon Collection. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program agenda for reception, exhibition, gallery plan. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions of Chinese Textiles from Minneapolis Institute of the Arts. Lecture by Alan Priest. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposed gift of \"Gates of Hell\", from the Cantor Collection. Exhibition \"Study of a Woman's Torso\". Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Rosenwald as Collector-of-the-Year, 1965. \"Master Prints From The Rosenwald Collection\", introduction by Rosenwald for the exhibition checklist. Dates- 12/64 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Corrected draft by L. Cheek. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Rosenwald. Subject- Personal invitations from L. Cheek. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition announcements. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of events for the season. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Paul Tishman. Subject- Exhibition from the Tishman Collection, letter of invitation, installation, Council lecture/luncheon. Speaker: Dr. John Akar, Ambassador of Sierra Leone. Remarks by J.M. Brown and Tishman, announcements and biographical data, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing lists for colleges, museums, etc. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek tour of England to photograph Elizabethan Houses. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Presentation of various forms of Arts of England during Shakespeare's life in commemoration of the 4th Centenary of his birth. Requests for loans of Elizabethan objects, press release, installation, etc. Dates- 8/63 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Exhibition of 19th and 20th century paintings, reception and event announcements. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon (Exhibition Chair) and Wm. Constable. Subject- requests for loans, French and British sponsors of exhibition including Queen Elizabeth, Honorary Committee Members, Patrons, catalog, PR, object damage report. Basil Taylor as special advisor to exhibition. Dates- 7/58 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Consultation on exhibition proceedings, travel and lecture schedule, biographical data and text for introduction to the catalog. Dates- 4/60 - 7/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Basil Taylor, Paul Mellon and A. Eiseman. Subject- Catalog layout, printing, design, budget, cost estimates, contributions. Essay- \"Classic Horse Paintings\", foreword by L. Cheek. Dates- 1/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Recipients of free catalogs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- William George Constable and his lecture for exhibition, biographical data, Bulletin vol.20 no.8 4/60. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of British sponsors, loans, selection committee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Mailing list, opening event, program and list of lenders to exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and John G. Pollard. Subject- List of sponsors, reception: program, agenda, menus, etc. Newspaper clippings. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibition in commemoration of Stravinsky's 80th birthday with related settings and costumes created for his ballets. Dates- 4/61 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Exhibition of contemporary prints and multiples (3-dimensional objects of limited editions), Lewis contributions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Railey Collection of European and Asian seals, Fisher Collection of paintings and exhibition of Ruth Safford: \"Interiors of Famous Houses\". Dates- 8/61 - 2/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt. Subject- Problems with exhibition objects. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Damage report of exhibition objects. Dates- 11/63  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Loans of objects from Pierpoint Morgan Library. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Extension of Tutankhamen exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sample invitation and preview guest list. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- List of objects available for loan and prices. Exhibition announcements, gallery floor plan. Lecturers: Gerald Nordland and Hilton Kramer. Dates-1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibit from MOMA: \"Form In The Animated Cartoon\". Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to M. Christison. Subject- Unavailability of Van Gogh exhibition. Dates- 8/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Philip Johnson. Subject- Jurors: Carroll Meeks, Richard Di Natale and Hans Namuth. Official entry forms, exhibition announcements, biographical data. Dates- 10/61 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Gyorgy Kepes, Philip Johnson and Ivan Dimitri. Invitations, guest lists, biographical data and entry forms. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- 1st Biennial exhibition.  Juror: Romaldo Giurgola.  AIA reception and dinner, program agenda, biographical data, invitations, pamphlets and exhibition catalog. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Sherman Lee, Harry Bertoia, Bernard Perlin. Collectors reception, purchase of artist work by Trustees, invitations, entry forms, etc. Dates- 12/57 - 2/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Near. Subject- Reception for purchasers of art works from the exhibition, and catalog. Dates- 1957, 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters to Artist on their award by the jury. Exhibition catalog, juror search and entry forms. Dates- 1959, 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Carl Wienhardt Jr., Mary Callery and Robert Vickrey. Salon des Refuse's on view at Thalhimer's, events schedule and exhibition catalog. Dates- 6/64 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: William Seitz. Installation, list of purchases, invoices, PR, invitations, guest lists, etc. Acquisition from Lewis Fund. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Gordon Bunshaft and A. Bodine. Entry forms and recipients of certificates of Distinction. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Exhibition to travel to Charlottesville. Dates- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture by Dorothy Miner, announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and Mr. John G. Hays (Chairman of the Expansion and Development Committee). Subject- Trustee/Museum business, formation of the VMFA Expansion and Development Committee, report of the chairman, etc. Dates- 11/47-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and P. Crum (Curator) and College of William and Mary. Subject- W\u0026M students visit to VMFA, loan from W\u0026M for a VMFA traveling exhibition, arrangements for traveling exhibitions to W\u0026M, etc. Dates- 2/41-7/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Education and Exhibitions) and Longwood College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Farmville State Teachers College, etc., 3/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- information on VMFA traveling exhibitions and an organization membership, etc. Dates- 7/48/8/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Art Club. Subject- arrangements for VMFA slides and traveling exhibitions to LAC, etc. Dates- 3/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Lynchburg College, etc. Dates- 1/49-2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Teacher's Club. Subject- arrangements for traveling exhibitions and slides to LTC, etc. Dates- 3/46-2/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Madison College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Madison College, etc. Dates- 12/47-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.C. McGehee (Assistant in Education Dept.) and Martinsville City schools. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Martinsville City schools, etc. Dates- 9/51- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Mary Baldwin College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to M.B. College. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Mary Washington College. Subject- arrangements for traveling exhibitions to M.W. College, arrangements for lecture by Christison at M.W. College, etc. Dates- 3/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Middlesex County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to MCWC, arrangements for lecture by Christison for MCWC, etc. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Narrows Woman's Club. Subject- arrangements for traveling exhibitions to NWC, etc. Dates- 10/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Newport News Woman's Club. Subject- arrangements for traveling exhibitions to NNWC, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Education and Exhibitions) and Norfolk Museum of Art. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to NM of A, exchange publications, etc. Dates- 1/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H. Lloyd (VMFA State Services) and Richmond County Junior Woman's Club. Subject- arrangements for filmstrips to RCJWC, shipping instructions, etc. Dates- 10/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Roanoke County Woman's Club. Subject- VMFA traveling exhibition checklists, request for information about organization membership to the Museum, etc. Dates- 4/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H. Lloyd (VMFA State Services Dept.) and Rockingham County public schools. Subject- VMFA traveling exhibition and slides checklists, arrangements for traveling exhibitions to Rockingham Co. Public schools, shipping instructions, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between E.L. Kallop (VMFA State Services Dept.) and Scottsville High Scholl. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions and slide sets to Scottsville HS, shipping instructions, etc. Dates- 9/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Sedley Woman's Club. Subject- notification of installment of Mrs. N.B. Rollings as chairman of Fine Arts Dept. of SWC, Date- 12/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Smithfield P.T.A. Subject- art material for Smithfield schools, Date- 11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H.V. Rennie (Assistant in Education Dept.) and Southern Seminary and Junior College. Subject- schedule of VMFA traveling exhibitions to Southern Seminary and Jr. College ('46) and arrangements for traveling exhibitions to Southern Seminary and Jr. College, etc. Dates- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Hart (Extension Dept.) and St. Catherine's school. Subject- VMFA traveling exhibition checklists, schedule for traveling exhibitions to St. Catherine's, etc. Dates- 1/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and St. Christopher's school. Subject- schedule and arrangements for VMFA traveling exhibitions to St. Christopher's, etc. Dates- 9/48-11/48.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Staunton City School Board. Subject- arrangements for traveling exhibitions to Staunton City School Board, etc. Dates- 1/52-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various Education Dept. staff and Stony Creek Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SCWC, etc. Dates- 2/47-1/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various VMFA State Service Dept. and Education Dept. staff and Stratford College. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to Stratford College, shipping instructions, etc. Dates- 8/48-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition checklists, schedule and arrangements for traveling exhibitions to Stuart Hall, shipping instructions, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director of Collections and Education) and Suffolk Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SWC, etc. Dates- 8/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Surry Woman's Club. Subject- arrangements for tour of the Museum and traveling exhibitions to SWC, etc. Dates- 10/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Sweet Briar College. Subject- schedule and arrangements for traveling exhibitions to SBC, shipping instructions, etc. Dates- 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Service Dept. staff and Tazewell Parent-Teacher Association. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions, slide sets and filmstrips to Tazewell Parent-Teacher Association, shipping instructions, etc. Dates- 11/52-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Thomas Jefferson Junior Woman's Club. Subject- request and suggestions for speakers for TJJWC, etc. Dates- 7/47-9/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA and Thomas Jefferson Woman's Club. Subject- arrangements to visit, tour and hold a meeting at the Museum, etc. Dates- 11/40-1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Three Arts Club of Blackstone. Subject- arrangements for filmstrips for TAC of B, shipping instructions, etc. Dates- 12/52-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- address of Mrs. Woods, President. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Toano Woman's Club. Subject- arrangements for holding a meeting at the Museum. Dates- 1/50-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and University of Richmond and Westhampton. Subject- arrangements for traveling exhibitions to U of R, shipping instructions, etc. Dates- 3/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- catalogues from the UVA Extension Dept. including the following: Famous Italian Paintings, Famous Flemish Paintings (Reprints from Seventy Famous Paintings by Adelaide D. Simpson (1927), The Story of Venetian Painting by Mrs. Stringfellow Barr and Cecily B.D. Ryder (1928) and Catalogue of Art Prints and Books (1937), etc. Dates- 1927-1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to UVA, shipping instructions, etc. Dates- 10/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and University of Virginia Museum of Fine Arts. Subject- checklists for traveling exhibitions sponsored by VMFA and UVA, the following publications by UVA: \"Twenty-five Contemporary Artists of Cleveland, Ohio\", \"Hugh Breckenridge\", \"Contemporary Artists of Virginia\", \"Contemporary Artists of Albemarle County and The University\", \"Alexander B. Trowbridge and Olin Dows\" and \"Elinor F. Hopkins\". Dates- 4/34-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.Y. Casey (Assistant in Education Dept.) and Upper King William County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to UKWCWC, shipping instructions, etc. Dates- 3/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Valentine Museum. Subject- information about becoming organization members of VMFA, a loan to VMFA from the Valentine, listing of the Valentine's activities, etc. Dates- 10/35-9/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and VA Education Association. Subject- Virginia Education Association art section meetings, etc. Dates- 2/47-10/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and VA Federation of Woman's Clubs. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VA. Federation of Woman's Clubs, VA Federation of Woman's Clubs yearbook ('47/8) and Directory ('48/9), etc. Dates- 1/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA traveling exhibition checklist. Dates- 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Virginia Polytechnic Institute. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to V.P.I.'s Architectural Department, etc. Dates- 6/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Virginia State College (Norfolk Division). Subject- checklists for VMFA traveling exhibitions, arrangements for traveling exhibitions to VSC, shipping instructions, etc. Dates- 10/52-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and the Extension Dept. and VA State University. Subject- schedule of VMFA traveling exhibitions to VSU 1945-7, arrangements for traveling exhibitions to VSU, etc. Dates- 6/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Va. Teachers' Association. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VTA, arrangements for a lecture by Christison to VTA. Dates- 12/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Virginia Union University. Subject- VMFA loans to VUU's art festival, arrangements for traveling exhibitions to VUU, etc. Dates- 1946-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between E.L. Kallop (State Services Dept.) and Wakefield Woman's Club and P.T.A. Subject- checklists for VMFA traveling exhibition, arrangements for traveling exhibitions to WWC and P.T.A. Dates- 9/51-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Warren County High School. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Warren Co. HS, shipping instructions, etc. Dates- 10/46- 5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between O. Hart (Registrar) and Warwick County School Board. Subject- arrangements for traveling exhibitions to Warwick Co. Schools, etc. Dates- 1/49-4/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Warwick Woman's Club. Subject- arrangements for traveling exhibition to WWC, etc. Dates- 10/48- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Washington and Lee University. Subject- checklists of VMFA traveling exhibitions, arrangements for traveling exhibitions to W\u0026L, etc. Dates-1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Waverly Woman's Club. Subject- schedule of VMFA traveling exhibitions to WWC ('46), WWC visit (with lecture) to VMFA, etc. Dates- 3/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA staff and West Point Schools P.T.A. Subject- arrangements for traveling exhibitions to West Point Schools, etc. Dates- 12/50-6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various Education Dept. staff and Westmoreland Woman's Club. Subject- arrangements for traveling exhibitions to WWC, etc. Dates- 1/48-3/49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and William Campbell High School in Naruna, VA. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wm. Campbell HS, shipping instructions, etc. Dates- 12/52-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and various Education Dept. staff and Wilson-Jackson P.T.A. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wilson-Jackson P.T.A., etc. Dates- 1/47-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.T. Rhodes (Assistant in Education Dept.) and Wytheville County schools. Subject- arrangements for traveling exhibitions to Wytheville Co. schools. Dates- 4/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Wythe Woman's Club, Hampton. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC. Dates- 8/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education), various Education Dept. and State Services staff and Wytheville Woman's Club. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC, etc. Dates- 5/49-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Y.W.C.A.-Richmond. Subject- holding a meeting (with a visit and lecture) at VMFA. Dates- 4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Young Woman's Club of Williamsburg. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to YWCW, shipping instructions, etc. Dates- 12/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.Y. Casey (Assistant in Education Dept.) and VMFA State Services Dept. and Zuni Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to ZWC, etc. Dates- 8/50-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\". Dates- 12/54-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\", note-included in these files: slides from Williams College of Art. Dates- 1947-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Chairman of the art department Williams College. Correspondence and biography 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fashion Show in cooperation with Miller and Rhoads Dept. Store and Harpers Bazaar magazine to benefit the VMFA Council, Education Fund, Council dinner, event plans and program catalogue. Dates- 12/55 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- the Fashion Festival of Arts and Flowers presented by the VMFA Council in cooperation with Miller and Rhoads Department Store, attendance lists, newspaper clippings, etc. Dates- 3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between national director and Thomas Colt, who was the State Director of the Federal Arts Project, 1935. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Federal Emergency Administration of Public Works regarding a grant to construct an additional wing to the Museum. 1935-38. More applications from Museum for funds from the Federal Emergency Administration of Public Works to complete projects such as casting a bust of John B. Payne and landscaping grounds. 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Federal Emergency Administration of Public Works and Virginia Commission for the Arts material, mostly on landscaping the grounds of the Museum, 1936. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Federated Arts Council of Richmond dinner and agenda, invitations. Dates- 2/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- Committee reports, events schedules, annual meeting 5/29/74, \"Festival Of The Arts\", 18th annual report, Dogwood Dell June-Aug'74. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Awards Dinner agenda, letters of confirmation, thank-you's, etc. Dates- 12/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T.C. Colt, Jr. Subject- listing of and letters to prospective fellows (founding fellows), a copy of the constitution 4/55. Dates- 3/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospects for new membership program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Conservation Laboratory, Library Endowment, Fellows Weekend, orientation theatre, contributions and projects, statement of purpose, agendas, biographical data. Resolution in memory of Lewis Strauss. Dates- 1964-79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Fellowship Committee minutes 1942, 1948, 1949, 1950, Fellowship Committee agendas 1950, 1951, committee report 1949/50, Fellowship Committee announcements and replies, listing of fellowships given by the Virginia Museum of Fine Arts 1940-51, etc. Dates- 1942-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Aplicant interviews procedure. Date- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellowship Fund income account, application, letters to recipients: Primm Turner, Jenny- Lynn Franklin and John D. Norwood. Dates- 5/54 - 5/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Essay- \"Outline for a Proposed Film for the Virginia Museum of Fine Arts\" by Vavin, Inc. 3/60.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1947, 1948, 1950, Finance Committee meeting minutes 1948, 1949, 1950, letters soliciting opinions from Trustees about stock purchases and committee resolutions and replies, VMFA Pooled Endowment Account 1949, stockholder information , etc. Dates- 1947-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1950, 1951, Finance Committee meeting minutes 1952, committee report 1950, status of capital funds listing 1950, list of securities held and cash balances, financial transactions, etc. Dates- 1950-2. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1952, 1953, Finance Committee resolutions 1953/4, Capital Funds Investments and Cash listings 1952, 1953, stockholder information, financial transactions, etc. Dates- 1952-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1955, Finance Committee resolutions 1954, a listing of Finance Committee meetings and actions in writing 1948-56, financial transactions, stockholder information, statement of endowment investments 1955, pooled investment listing 1955, investment changes for the period 4/30/55-12/31/55, etc. Dates-1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Lawler Fund. Dates- 10/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- stockholder information (i.e. annual and quarterly reports of companies). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee resolutions 1948/9, excerpts from Finance Committee meeting minutes 1939, 1951, Date- 3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from A. Nicholas. Subject- Statements of income, balances, private income, special purchase funds, operating budget, etc. \"Virginia Museum Semi- Annual Financial Report Dec. 31, 1970\" , \"Summary of Financial Support\": 1935- March 31, 1971, 19l35- June 30, 1969, Art Purchase Funds, Capital Outlay Programs to purchase land and buildings, List of Art Purchases 1970-71. Dates- 6/70 - 10/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and G. Martin. Subject- Responses to questionnaire from various theatre directors, VMT regulations. Dates- 1965 -66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT Statement of Purpose, application for Samuel Tate Morgan and/or George Seay Memorial Trust Funds. Letter of grant award for the expansion of VMFA Library holdings and list of books purchased, newspaper clippings. Dates- 5/69 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Administrator, Richmond Area University Center. Correspondence with 1949-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Memorial for Col. Herbert Fitzroy, letters of receipt of contributors to purchase a sculpture to be placed on permanent exhibit in Artmobile II: \"Crowing Rooster II\", G. Marcks. Dates- 10/67 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- information about proper display of U.S., U.N. and VA flags. Dates-11/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns cultural development there. 1957-59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Agreement on the Importation of Educational, Scientific and Cultural Materials\", Bill signed on 6/24/59, press release. Unesco sponsored agreement to eliminate tariffs and special import taxes on educational, scientific and cultural materials. Dates- 9/59 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Horace S. Flournoy. Subject- repair of heating system at the Museum. Dates- 10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- plantings around the Waddy Fountains at the front of the building, lawn and plant care, listing of growing plants used, etc. Dates-6/54-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA staff and Harvard University's Fogg Art Museum, mostly regarding the loan of a Copley portrait for the Museum's inaugural exhibition, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, J. Coolidge (Dir., Fogg). Subject- General correspondence regarding conservation, authenticity of objects, employment referrals, research, etc. Dates- 4/52 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for Folktale Marionette Theatre to perform at VMFA in Dec.1953, etc. Dates- 3/53-1/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- visit of Mrs. Henry Ford II, to see VMFA operations. Dates- 3/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about a Virginia artists watercolor exhibition sponsored by the Ford Foundation Title \"Virginia by Virginians\", copy of an invitation to Mr.and Mrs. Ford to the opening, etc. Dates- 1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- newspaper clippings and statement of purpose of the Ford Foundation. Dates-12/48-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Ford Foundation. Subject- proposal of VMFA serving as regional center for Ford Foundation's creative artists selection program 1958, proposals for Foundation support, Foundation publications, etc. Dates- 10/50-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Ford Foundation. Subject- information about applying for Ford Foundation support, Foundation publications, etc. Dates- 10/59-10/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program for Painters, Sculptors and Related Artists. Letters to jury members, entertainment. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and the Ford Foundation. Subject- the Museum as a locale for the premiere art exhibition to be featured in the March issue of the Ford Times, an exhibition highlighting VA artists named \"Virginia for Virginians\", included are copies of the exhibitions' gallery guide, invitations to the preview and a copy of the Ford Times feature issue. Dates- 11/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and American Association of Museums (AAM). Subject- roster of foreign museum Directors visiting VMFA on a AAM sponsored tour (in cooperation with the State Department), biographical information on visitors, etc. Dates- 3/65-5/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to VMFA staff. Subject- memos about arrangements for luncheon held at Museum for international newspaper people. Dates- 6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal for VMFA travel program, tour estimates and brochures. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition preview speaker: Ariad Yafeh, biographical data, reviews and photographs. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Guest lists for opening event, sample letters for invitations and replies. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices, Cheek serving as honorary member of advisory committee of Directors and Curators, etc. Dates- 3/52-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Keith Fowler. Subject- theatre operations, policies, programming, newsletter to friends, volunteers and theatre subscribers, etc. Dates- 10/69-12/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between William Francis and L. Cheek, Jr. Subject- Museum publications business and arrangements, etc. Dates- 12/64-9/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Governor Peery, T.C. Colt, Jr. and Douglas S. Freeman, president of the Confederate Memorial Institute. Subject- Transfer of the John B. Payne collection from the Battle Abbey to the museum. Dates- 1935-39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. Subject- mostly professional matters, but some personal information is given. Dates- 1948-53.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and French and Company. Subject- French and Company, Inc. art dealers, loans, conservation work, proposed sales to Museum, photos and descriptions of objects, etc. Dates- 6/46-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject- photo requests from the Frick Art Reference Library, reference questions, exchange publications, etc. Dates- 2/46-9/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Friddell was columnist for the Richmond News Leader. Correspondence with Cheek, 1949-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- memo about calendar of Museum events, mailing to American Ballet Theatre Friends, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Preparation plans for \"George Stevens Makes a Film\", an exhibition based on the making of an epic film (The Greatest Story Ever Told), installation, cost estimates, etc. Dates- 1/64 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Search for Egyptian objects to purchase, exhibitions: Sport and Horse and American Folk Art, College Drama Festival, loan of P. Klee works, collectors circle, Biographical data, Fellows, donation, gifts, Segregation in VMT, background information on paintings for Wm. Henry Yates, Marshall Research Library, Poetry Society of Virginia, Glasgow Estate. Accessions and gifts: \"Tree\", H. Gray; E. Hopper; Rutherford Goodwin, Jr.(signature). Dates- 1/55 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General museum business, inter-museum memos. Richmond Sinfonia, special purpose gallery, exhibition policy. Museum television, funding sources, COVAO conference, sale of Artmobile I, Council, newspaper clippings, pamphlets and funds generated through programs division, letter from Robert Indiana.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Bill (William) Gaines (head of Programs Division). Subject- programming educational, exhibitions, films, affiliates, etc., Museum operations, etc. Dates- 3/70-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Acquisitions, objects for purchase consideration, various newsletters, exhibition catalog: \"Nature As Scene\". Dates- 4/76 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with other museums. Subject- exhibition announcements, information about loans to other museums, etc. Dates- 3/53-3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Dir. for Collections and Education) and Mr. Charles Seymour (Yale University). Subject-request to look at the Museum's collections. Dates- 2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Col. Edgar Garbisch and L. Cheek, Jr. Subject- gift to VMFA-Junius Brutus Stearns paintings of life of George Washington, photos and information about paintings, biographical information about Garbisch, etc. Dates- 1/50-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for the 50th anniversary dinner of Garden Club held at VMFA, etc. Dates- 9/68-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the Garden Clubs of Virginia and America 1958-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Mrs. T. Fleetwood. Subject- Mrs. T. Fleetwood as a Trustee, Trustee business, gift to Museum, etc. Dates- 5/64-7/75. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Landscape Architect for Museum. 1957-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by John Garland Pollard, Jr. Subject- invitation to members of General Assembly to use Museum facilities, announcement of a reception for General Assembly members spouses, VMFA Members' Bulletin vol.20, no.5 1/60. Dates- 1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters sent to members of the General Assembly 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Gibbes Art Gallery. Subject- Brown working on problems of the Gibbes Art Gallery, \"Report to the Board of the Charleston Art Association\" co-written by Brown, etc. Dates- 12/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee, Executive Committee. Dates- 1950-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mr. George D. Gibson as Trustee, Trustee and Local Building Committee business, copies and excerpts from minutes of the Executive Committee 1948-53 dealing with VMFA building, news release 6/57 about Gibson being elected VMFA President, etc. Dates- 12/52-11/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. George D. Gibson, a lawyer with Hunton, Williams, Gay., Moore and Powell. Subject- flooding at the Museum, building inspections, structural problems with the building, the shipment of a Watteau painting to VMFA, a Melchers gift, etc. Dates- 7/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- acknowledgments of receipt, thank you letters to donors for gifts of all kinds (money, books, equipment, etc.,). Dates-11/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Arthur G. Glasgow. Subject- gifts to Museum, Museum events, information pertaining to the Estates of Margaret Branch Glasgow and Arthur Graham Glasgow. Dates- 2/54-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., J.M. Brown and Walter S. Robertson (VMFA President). Subject- transcript of remarks by Governor Mills E. Godwin, Jr. at Southeastern Theatre Conference 1966, Museum events, Mrs. Godwin to serve as honorary chairman of Entertainment Committee, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- President of Princeton University. Request for him to lecture at Museum. Dates- 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Associated Artist Gallery, Washington, D.C. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for Theatre Director-Producer 1957.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Pollard was a member of the Goodwin Memorial Commission appointed by the state to erect a scroll honoring the Reverend William Archer Rutherfoord Goodwin, former rector of Bruton Parish Church and man who dedicated his life to the restoration of Colonial Williamsburg, 1950-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Mr. F.D. Gottwald. Subject- agreement and arrangements to establish Elisabeth Shelton Gottwald Fund. Dates- 4/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- copy of report on Museum, recommendations to Museum made by Governor's Management Study Group. Dates-7/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Mills Godwin and Peter Mooz. Subject- Budgets: cutbacks, executive order, appointments to VMFA Executive Board, creation of job positions, Museum organization charts, Melchers Estate, Arts Commission, Executive Mansion furnishings and lists of objects. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for unveiling (10/5/71) of new acquisition of Goya's painting- General Nicholas Guye guest lists, invitation, news releases, photo and information about painting, etc. Dates- 9/71-2/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- \"General Guye\", Goya. Special event, agenda, invitations, etc. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with John Graham (Curator, Colonial Williamsburg). Dates- 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Related to the death of Mr. Gray and his family. His bequest to the Museum and a memorial to him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Horace Gray, Trustee. Subject- Museum business, biographical information about Horace Gray, VMFA Members' Bulletin vol.19, no.6 (2/59), etc. Dates-5/51-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about hiring Mr. Paul Grigaut as head of Collections Division, Museum practices, information about Museum Collections catalogues, etc. Dates- 6/62-4/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Theft-general. Contains one newspaper clipping 5/28/62.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- correspondence with Senator Raymond R. Guest, announcement of gift to Museum of bronze gates, Museum events and business, etc. Dates- 11/48-5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and L. Cheek. Subject- List of sites for guidebook , roster of names for nominating committee, letters to publishers, price structure, biographical data, promotional information, outline for publication by the Trustees for \"An Official Guide To Four Centuries Of Building In The Old Dominion\". Dates- 4/66 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Finnish Society of Crafts and Design 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt, F. Haseltine. Subject- Installation of \"Symbol\" at Phillip Morris site, invitation mailing list, reception agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, F. Haseltine, P. Near. Subject- Exhibitions, VMT, loans, gifts, endowments, biographical data, invoice for work restored, acquisitions, installation of Heeramaneck Collection, Pastorale fund, Project Grant Application, Tax Status. Essay- \"A Brief Summary of Accomplishments of the Virginia Museum of Fine Arts\", 1962-64. Dates- 9/51 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mr. Haller was a public relations consultant hired under special circumstances and kept off of the state payroll. This letter pertains to this and circumventing the state system 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and S. Robertson. Subject- AAM meeting in Williamsburg, increase in security staff at VMFA, Artmobile, Executive order from the Governor's office to divide the Board of Trustees into five divisions. Request for authority to prepare Capital Outlay Plans for South Wing, invitations to serve on various committees, presentation of Webster S. Rhoads award to Gov. Harrison, newspaper clippings. Dates- 5/61 - 11/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Public Buildings Administration (Federal Works Agency). Subject- Harrisonburg post office mural competition (Colt served on the jury of selection and advisory committee) and contract with Public Buildings Administration. Dates- 2/41-10/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek's 25th college reunion and an art exhibition in conjunction with the reunion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Melissa Hayden and Andre Eglevsky. Dance performances at the VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. John G. Hayes, Sr. Subject- Trustee/Museum business, money to the John G. Hayes Endowment Fund, etc. Dates- 11/49-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. J.G. Pollard and W. Rhoads. Subject- John Green Hayes Memorial Fund. Dates- 5/48 - 11/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of appeal from VMFA to Hearst Foundation for financial assistance. Dates- 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Biographical data, press release and his presentation to the AAMD, newspaper clippings. Dates- 4/62 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lecturer for the Latin American Exhibition 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT: tour schedule, HEW grant proposal, \"A Cultural Program in the Dramatic Arts for Virginia High School Students\", newspaper clippings, postcards, reviews, project budget, financial support. Dates- 5/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Travel Itinerary, loans , VMT productions, collectors circle, LOAS (Loan-Own Art Service), search for prospective jurors, letter to Helen Hayes to address VMT, biographical data, gallery plans, invitations to preview Hogarth exhibition. Dates- 9/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for luncheon and agenda. Dates- 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Request for VHS to hold annual meeting. Dates- 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Col. Hodges (Membership Chair). Subject- Trustee/Museum business, Hodges served as the Chairman of the VMFA Membership Committee, etc. Dates- 11/35-3/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA Bulletins: vol.26 no.3 and vol.27 no.6. Hogarth lecture to VMFA, itinerary, biographical data, Wm. Blake exhibition. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for Theatre Director 1957. Contains resume and letters to, from, and about him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, P. Davidson, and P. Rathbone. Subject- Exhibition: \"Treasures of Alexander\", request for loans, list of objects in connection with exhibition, installation design, theft of Nike Earring. Dates- 9/63 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Term as a Trustee and Fellow at VMFA and as a Trustee at Norfolk Museum, Exhibition: Treasures from the Norfolk Museum. Gifts and donations. Dates- 9/61 - 4/3 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Collectors circle, Fellows, Trustee, gifts and donation. His service as a Trustee at the Chrysler Museum. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on state holidays. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Gov. Holton. Subject- Proposal for a Bill to organize a citizens advisory committee to improve furnishings and interpretation of the Gov. Mansion. Statewide Building Code, Administrative Amendments 1/29/73, Sec. 873.5. List of participants and Museum conference notes to determine how Va. Museums can assist one another, Inauguration arrangements committee, rosters: House of Delegates, Senate and legislature. Essay- \"The Holton Years: A Summing Up 1970-1974\". Dates- 9/61 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Reports from the Honors and Awards Committee and the Board of Trustees, 1948-56. Much of this concerns Mr. and Mrs. A.D. Williams, The Katherine Rhoads Fund and the Webster Rhoads Medal, and Arthur and Margaret Glasgow, letter regarding the Mary Samuel Davies Bright Memorial. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Arts and Humanities Commission, Pratt Estate, Cabell Foundation, Ford Foundation: VMT underwriting. Trustee interviews, gifts of appreciated property. Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings, photographs. Dates- 10/8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and J.M. Brown. Subject- Parsons Fashion Show, slides, pamphlets, newspaper clippings. Dates- 8/63 - 7/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Seating arrangement. Dates- 11/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J. Sweeney and Lee Malone. Subject- \"Design In Scandinavia\", Cheek's remarks. General correspondence concerning museum loans and policy. Dates- 4/63 - 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Miss Nora Houston and T.C. Colt, Jr. Subject- biographical information, information about exhibitions she participated in, proposed acquisition of her work, etc. Dates- 4/36-2/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- U.S. House of Representatives, New York State. Correspondence concerning government support of the arts. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copy of his speech given at the Architectural League Symposium 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Term as a Trustee, membership campaign, budget committee, newspaper clippings. Dates- 5/59 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellow, VMT, Exhibitions, Artmobile, long term loan of 18th C. Dec, Arts objects, Hogarth exhibition, contract bid for landscaping, North Wing. FILM: \"THE ART of THE CONSERVATOR\" Dates- 2/64 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Trustee, Fellow, gifts. Remarks concerning Fellows meeting, Draft of Executive Committee Meeting Minutes, 12/8/70. Official application form for AAM accreditation. Art Nouveau Collection, Council lecture and luncheon with draft of suggested remarks delivered by C. Humelsine. Dates- 1969 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Requests for catalogues, loans, exhibition announcement, proposal for an \"International Traveling Exhibition\", technical info on Ivisiglass. Dates- 4/45 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- RSVP's to auditorium inauguration, thank you notes to musicians used for the opening, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Innocenti and Webel (landscape architects) concerning VMFA grounds. Dates- 7/64 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek, T. Colt and Mrs. Pollard. Subject- Requests for publications, general information regarding VMFA collections, exhibitions and museum operations. Dates- 10/35 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General information on exhibition installations.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains one brochure, 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- insurance against air raids and other war damage, correspondence with other museums about war risk insurance. Dates- 6/42 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. and M.B. Christison (Assistant Dir. for Collections and Education). Subject- damage claims to art objects we lent and/or were on loan to the Museum. Dates- 11/49-11/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuels Collection [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Draft of the Constitution and By-Laws of the proposed Virginia History and Museums Federation. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- ICOM statement of mission, travel expense records, membership and financial statements, pamphlets, Minutes of Executive Committee 1/30/60, 5/25/65, Annual Report 1965, newsletter, pamphlets, etc. Dates- 1961 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual Reports, Statutes, guidelines for International Rules of National Committee, Museum Training Programs, Newsletters, Minutes of Annual Meetings, budget, membership, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Mrs. J. Pope (Pres. IEF) Subject- Invitation to become a member, statement of mission, list of officers, IEF Financial Report 12/31/72, Annual Report 12/1/72, NEA award, catalogue listings, list of traveling exhibitions 1966-72. Dates- 1966 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Anne Marie Pope. Subject- Lists of current and planned exhibitions, events schedules, minutes of annual meeting. Dates- 1973 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Article from \"Preservation News\", 1/71 vol., XI, no.1 and Sunday Supplement from New York Times. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, P. Near, Phillip Johnson. Subject- P. Johnson's advise of design of the New Wing and as possible juror for Va. Biennial. Rotunda Club, Jamestown Festival, Robinson House, Hogarth Exhibition, Jr. League activities, and restoration of downtown Richmond. Photocopy of text from letter between Wm. Fitzhugh to Charles Carter 11/30/1796, pamphlets, donations, gifts. Dates- 12/55 - 12/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Letter of appointment to Executive Board. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 350th Anniversary. 1955-57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on the Museum's contributions to the celebration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek to serve on advisory committee and certificate of award for his service, presentation of Pocahontas portrait for permanent display, \"Report From Sub-Committee, Jamestown Commission\", 10/30/57. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photos of the \"Japanese Architecture\" exhibition, printed material for the exhibition, arrangements for bringing the Japanese Charge d'Affaires to VMFA, transcript of remarks made by Mr. Shima (Japanese Charge d'Affaires) at the opening preview, etc. Dates- 4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Itinerary and agenda for East Meadow High School of East Meadow L.I., New York. Dates- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown. P. Near, A.P. Jenkins. Subject- A.P. Jenkins collection, gifts and contributions, loans, Fisher rug collection, B. Barenson, Ash Lawn, Caligula statue, invitations, agendas etc. \"Art Now: New York\" vol.2 #10, University Galleries, 1970 (contains large color plates). Conceptual statement for Cabrillo Marine Museum. Dates- 8/54 - 9/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Jay W. Johns. Subject- Trustee/Museum business, gifts to Museum, information about an Evelyn Byrd portrait by a disputed artist (Kneller or Bridges), etc. Dates- 6/35-9/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- J. Johns service as a Trustee and Fellow, gifts and donations. Dates- 4/50 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- B. Johnson's (Conservator of L.A. County Museum) observations concerning the authenticity of a Veronese painting and his personal collection of pre- Columbian sculpture and Asian ceramics. Dates- 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and T. Catesby Jones. Subject- Jones' collection of modern paintings and sculptures, gifts to the Museum art and books, letter from Jean Lurcat, etc. Dates- 3/41-12/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The loan of Mrs. Catesby's collection of French Modernists to the VMFA and gifts. Dates- 2/50 - 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from l. Cheek, R. Guest (Fellows, Chair) and W. Robertson. Subject- Her appointment as a Trustee and role as chair of the membership committee. Dates- 7/64 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- State Supervisor of Art, 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- purchase requests for photos. Dates- 3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown. Subject- Agenda and letters of confirmation. Dates- 6/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Volunteers at the Museum, 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of confirmation. Dates- 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Letters of recommendation, resumes, prospective jurors, exhibition: \"Ugliness in Virginia\", Robert E. Lee Memorial, Fellows, gifts, donations, pamphlets. Acquisitions: Artists, Duane Hanson and Stephen Posner. Dates- 4/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Karolik collection of American Painting, Artmobile and Collectors Circle. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Maxim Karolik. Subject- proposed lecture for exhibition \"The Karolik Collection\", printed material for exhibition, etc. Dates- 9/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Illumination exhibition for the American Federation of Arts: proposal, budget, exhibition news, advisory committee and Minutes of 1st Meeting 11/23/64. Dates- 1/65 - 2/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek as member of the Council for the Kennedy Center and Board of Trustees, bulletins, progress reports and newsletters and a letter from Jacqueline Kennedy dated 1/14/66. Dates- 2/59 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and H. Willett (Supt. of Rich. City Schools) Subject- Letter to F. Keppel (Asst. Sec. of HEW) concerning a Math and Science Center. Essay- \"Proposal For a Supplementary Mathematics and Science Center\". Dates- 11/65 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters of request and confirmation, menu and tour. Dates- 8/71 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets: \"The Library - Documentation Project spring 70\" , \"The Urgency of Our Mission\" and \"Statement of Purpose Fall 1969\". Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt, L. Cheek and Harry Brooks. Subject- Requests for publications, provenance of Italian Renaissance painting being considered for acquisition, loans, pamphlets and shipping invoices, etc. Dates- 2/46 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, T. Simmons (Knoll) and Florence Shu Knoll. Subject- Interior design and furnishings of the Members Suite, offices, restaurant and Library, Knoll Catalogue 1956, newspaper clippings. Dates- 2/49 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Portrait commission of L. and Mary Tyler Cheek and his exhibition at the Museum of the City of New York. Information about introduction to exhibition catalog. Dates- 1/63 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Parson's School of Design. Design consultant VMFA 1954-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The creation of layouts of loan exhibitions and permanent displays, agendas, job description, newspaper clippings, biographical data, postcard, etc. Dates- 2/58 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mr. Koenig was a guest promotion director at the VMFA 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to contributors of memorial fund. Subject- Memorial established by the Theatre Associates of VMFA, sample of bookplate in his memory. Dates- 4/62 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuel H. Kress Foundation 1958-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about bill and payments with Kuhn. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile project for the Arkansas Arts Center, \"Let's Go, Reflections on the Art of Administrative Leadership\". Dates- 8/62 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chapters/Affiliates, newsletters, Lectour broadcasts, newspaper clippings, invitations, Lawler Memorial Fund, Artmobile. Artists: Pietro Lazzari, Janice S. Lemen, John Gadsby Chapman, photograph. Dates- 5/58 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Publication requests, gifts, contributions, collectors circle, Fellows, suggested bequest wording, Artmobile, loans, exhibition announcements, NEA questionnaire: \"Conservation in Museums- August 1971\", restoration and condition report of \"Battle of Yorktown\", Lami. Artists: Mario Dubsky and Eugene Berman. Gift and donations: \"La Sympathie\", Pettijean. Date- 11/62 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Port Sunlight, Chesire England.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and the VMFA Board of Trustees. Subject- To prevent the construction of the Valentine Museum's Latrobe Theatre. Dates- 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lecture by Cheek to the College Art Association 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to E. Cless (program Consult., U. of Minn.) Subject- U. of Minnesota Institute on Administration and Services in the Small Art Museum, program agenda, travel schedule, list of registrants for the seminar, report on the panel on museum publications, pamphlets, map, etc. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek to G.H. Holmes (Dean of U. of Pa.). Subject- Urban Criticism, experiences in traveling exhibitions on city planning, resolutions and solutions on urban problems. Biographical data on participants of conference, travel expenditures, agenda. Dates- 7/58 - 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Priscilla Crum to Prentiss Taylor. Subject- lecture by Taylor, Wednesday evening programs schedule 1948, proposed schedule 1947-8, etc. Dates- 9/47-1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison. Subject- prospective speakers, films, etc. for programming. Dates- 10/48-12/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- schedules for Wednesday evening and musical programs. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given by L. Cheek, Jury duty lists, consultations, invoices, expense records, agendas, pamphlets, magazine excerpts, Essay- \"The Place Of The Arts In Our American Culture\", by L. Cheek. Dates- 1953 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given by various members of the VMFA staff. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from D. Nicholas. Subject- Procedure and policy concerning VMFA security.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Monthly newsletters on \"Reflections on the Art of Administrative Leadership\", L.H. Kurtz, publisher/editor. Dates- 9/62 - 11/64, 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, P. Near C. Humelsine, F. Brandt and Wm. Gaines. Subject- Art Nouveau Fund: list of purchases, legal document of fund establishment. Artmobile and contemporary Art Purchase Fund. Dates- 5/67 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Possible sources for the purchase and restoration of the Alexander-Withrow House, Lexington, Va. Dates- 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- D. Liebes (color consultant and textile designer) on proposed text for her essay to appear in AIV and her lecture to be given at the VMFA on crafts and the creation of VMFA Craftsperson - residence. Dates- 4/63 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and E. H. Bushbeck (Kress Found.). Subject- Drawings and description of Dr. Reinhardt's gallery in Switzerland. Dates- 2/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and V. Gaskins (asst. to L. Cheek). subject- Planning of VMFA lighting facilities, \"Art Museum Lighting\", 2/59, excerpt from a journal of Electrical construction and Maintenance. Dates- 2/59 - 9/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal of Library-Museum at Lincoln Center. Dates- 2/59 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ralph Linton Collection of African Sculpture. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for loans of furnishings to other state properties. Dates- 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of loans under consideration, loans to ambassador residences in England and Australia. Photographs. Dates- 2/61 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and director of Louvre. Subject- Poussin exhibition at Louvre and VMFA loan of \"Achilles on Skyros\" and Delacroix exhibition, loan of \"Deliverance of Princess Olga\". Dates- 10/59 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lighting Technician, VMFA, 1953-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and C.B. Lusk. Subject- Lighting instruments and technical drawings. Essays- \"Lusklite as developed and used at the VMFA\" and  \"The Installation and Lighting of Exhibitions at VMFA\" Dates- 8/56 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.R. Duncan and Gordon Huff. Subject- Expansion of Lynchburg Arts Center to become an affiliate, loans for opening gala, suggested text for print media, schedule of events, Artmobile, Lynchburg Arts Center Executive officers. Introductions for L. Cheek and W. Robertson, travel itinerary. VMFA lecture series: Building For The Arts 1965-66, pamphlets. Dates- 5/62 - 7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for \"The National Arts Center of New York University at Washington Square\", Exhibition: \"Tastemakers\", based on R. Lynes Book. Official guest list for opening reception. Dates- 10/54 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, L. Cheek, P. Near and F. Haseltine. Subject- Membership, gifts, personnel references, loans, Jamestown Foundation, proposal for commission of sculpture in F\u0026M Plaza. Acquisitions and gifts: Egyptian cups, Coptic sculpture, Bertoia drawing. Dates- 4/61 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Macbeth Galleries. Subject- loans for inaugural exhibition and general correspondence about proposed acquisitions from Macbeth galleries. Dates- 9/35-7/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Orders and correspondence for back issues of Bulletins and magazines, 1946-47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Alessandro Magnasco, Painting 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing and sign schedules, roster of names and institutions. Dates- 1960 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing and events schedules. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near, D. Isley (Norton Simon Collection). Subject- Press releases, shipping, installation, purchase invoice, info regarding owners of the other castings. Photographs and slides. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Paul Manship. Subject- designing the John Barton Payne medal. Dates- 9/36-10/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Robertson. Subject- His Service as a Trustee, Fellow, and chair of Trustee Budget Committee. Biographical info, Artmobile, 25th Anniversary of VMFA, museum business, financial statements, Education In The Arts. Dates- 12/56 - 5/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Long Island Historical Society. Subject- Provenance, purchase through Glasglow Fund. Dates- 12/55 - 1/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resume, photo, agenda, NEA grant request. Dates- 4/65 - 5/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- M. Baldwin Choir Program, Alumnae issue Bulletin concerning visit of Pres. Eisenhower. Invitations, Fine Arts Center, Woodrow Wilson Project. Dates- 2/56 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Julien Binford. Subject- Mary Washington Arts Center, invitations, VMT, loans of art works, newspaper clippings. Dates- 11/49 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gifts to VMFA. Dates- 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. William R. Massie. Subject- Trustee/Museum business, etc. Dates- 12/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture: John Goldsmith Phillips, biographical data, press release and catalog list. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturers: V. Isabelle Miller and Mrs. Yves Henry Buhler. Press release, publicity schedule and photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- floor plan, instructions for installation for exhibition \"Masterpieces of Chinese Art\", printed material for exhibition, thank you notes to lenders to the exhibition, etc. Dates-11/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for the Theatre Director Position. Contains resume and applications, letters of recommendation etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Director of Public Relations for 20th Century Fox. Speaker at the Museum 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Public Information Division VMFA. 1955-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Director of Vassar College Art Gallery, requests for publications, lecture. Term as curatorial research asst. at VMFA. Dates- 9/53 - 6/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dedication of new Library, loans, invitations, VMT, Farewell gift to Mr. and Mrs. Cheeks with poem. Gifts, contributions, G. Melchers memorial. Dates- 2/60 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- General membership information, loans, press release, invoices, newspaper clippings, etc. Art Nouveau Collection. Letter to L. Marden (residence designed by Frank Lloyd Wright). List of Artists editions: prints and objects from Multiples Inc., NYC, price list and description. Artist: Phillip Lindsay, signature. Acquisitions: Monet, van der Helst and Rodin. Dates- 12/69 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and French and Co., Inc. Subject- pieces sold to and installed in the Museum, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal to establish an Institute of Mediterranean Culture at U. of R. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Carroll L.V. Meeks. Subject- thank you notes for visit to New England personal friendly letters, etc. Dates- 4/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, Mrs. Pennell (Membership Secretary) and Mrs. Gari Melchers. Subject- VMFA members in Fredericksburg, postcards, gift to Museum , etc. Dates- 12/35-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Her service on the Executive Committee, Melchers Estate, budget, gift status of \"Dead Jockey\", E. Degas. Contributions, gifts, newspaper clippings, biographical data. Dates- 4/56 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt (Dayton Art Inst.) and Dr. Higgins (Chair of VMFA Board), J.M. Brown. Subject- \"Disposition of Mr. Gari Melcher's Estate Excerpted from Virginia Museum Minutes Books, No.4,5and6\" , prepared by A.W. Statnaker, Asst. Administrator 7/17/74. Resolution, re: \"Belmont As An Art Center And Museum\" and \"Opening Of The Belmont Facility To The Public\" , Executive committee Minutes. Dates- 5/74 - 11/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Melchers estate/bequest to the Museum, agenda and minutes of Gari Melchers Memorial Committee 5/56-10/56, report and proposals of that committee. Dates-5/56-10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- appointments to committee, general operation of Estate, suggested budget, list of Melcher paintings owned by VMFA, loans of art works, drawings/blueprints: G. Melchers Studio air conditioning system and proposed plaque for ashes of Mr. and Mrs. Melcher. \"Belmont Agency Agreement\", Bill to transfer Melchers Memorial from VMFA to Mary Washington college. Dates- 4/56 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- First Chairman of Fellows: 1st Annual Meeting and statement of purpose. Exhibitions: English Painting, French Portraits, Sport and Horse, Artmobile. Old Dominion Foundation and his membership on the Executive Committee, gifts, donations and contributions. Dates- 2/38 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His membership on the Board of Trustees, Fellows, Collectors Circle. Biographical info, loans of art works from his personal collection, donations and gifts to VMFA and the National Gallery, Artmobile, as a recipient of the Benjamin Franklin Award: statement of purpose, nomination form, list of contributions, newspaper clippings, photocopies of magazine articles, invitations , etc. Dates- 1965 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Robertson. Subject- Collectors Circle, Fellows, term as VMFA Vice President. Press releases, newspaper clippings, contributions and gifts. Dates- 4/60 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Members lecture series. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Higgins, Jr. (Pres.) and C. Humelsine (Pres.) Subject- Draft of letter to membership regarding schedule of events etc. Dates- 9/71 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program where paintings from contemporary Virginia artists would be loaned (rented) to members to have in their homes. Members could also purchase the paintings. \"Designed to bring the work of Virginia artists into the homes of Virginia citizens.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Wm. Higgins. Subject- Monthly membership report summary, Chapters/Affiliates reciprocal membership program, letters of general correspondence to the membership. Dates- 4/70 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of the Membership Committee 1/48, 2/49 and a letter supporting the proposed theatre wing from Mrs. Wm. Trigg, Jr.(Civic Theatre Committee, Div. of Recreation, City of Richmond). Dates- 9/47-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Membership report, promotion, agenda, roster of committee members, minutes of committee meeting. Dates-8/72 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes of membership committee, elements of campaign to attract new members and move members to higher categories. Dates- 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Guided tours for prospective members, agendas, schedules, newspaper clippings, excerpt from Minutes of Executive Committee 12/14/72. Dates- 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Webster Rhoads (Pres. of Museum Board) and R.A.Velz (Administrator). Subject- list of new museum members, request form for membership, Membership Reports 1954-5 and 1955-6, list of membership privileges, etc. Dates- 11/55-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. W.A. Nones (Chair, Trustees), J.M. Brown and C. Humelsine. Subject- General membership information, schedule of events, calendar, pamphlets, etc. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership rosters of local organizations, copies of a cover letter soliciting members, etc. Dates- 1/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey results, years of membership, exhibit preference, age, attendance, annual contribution. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- planning stages for corporate memberships, proposed fees, privileges, etc., counsel from other US art museums, list of corporations to be approached about the idea, etc. Dates- 1946- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Corporate membership drives, presentation to J.C.'s, excerpt from Newsweek. Dates- 6/60 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Members art studio classes and lecture series. Dates- 6/54 - 9/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 6/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 9/54-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Velz. Subject- memos regarding segregation and other policies at the Museum. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek and R. Velz. Subject- Miscellaneous information concerning collections in general: treatment/condition reports, insurance, loans, installations, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Miscellaneous museum operation: Artmobile, Art Lending Service, Virginia Artists, lists of objects on loan, exhibitions, damage reports of objects and gallery inspections, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- inter-office memorandums on various subjects. Dates- 12/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek and H. Glasser. Subject- Exhibitions, Pratt Collection, gallery inspections and all manner of museum operations and programs. List of lost objects on loan to the Bon Air School for Girls. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Inter-office memos concerning insurance valuations, loans, lectures, library, exhibitions and policy on filing acquisitions data and damage reports. Date- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets published by the state Department of Mental Hygiene and Hospitals and the Mental Hygiene Society of Virginia. Dates- 1951-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and various staff at the Metropolitan Museum. Subject- museum practices, long-term loans of Egyptian art and artifacts, securing speakers, etc. Dates- 1/55-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J. Rorimer (Dir., MET) and A. Priest (Curator, MET). Subject- Damage to MET's \"Bacchus\", objects to purchase, loan requests. Acquistions and gifts: Tibetan Scroll; Coat of Japanese Mail. Dates- 11/69 - and/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Michael Jacobs Gallery. Subject- loan of painting (George Washington by Gilbert Stuart) for inaugural exhibition. Dates- 6/35-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Midwestern book competition for which Cheek served as a juror, competition judged in Richmond, lists of criteria and books, printed material for the competition, etc. Dates- 4/56-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Jo Mielziner. Subject- friendly letters, mention of possible Mielziner exhibition, etc. Dates- 12/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, list of stage designs available for purchase, his lecture to VMFA, schedules and agenda's, etc. Dates- 10/54 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Miller and Rhoads department store staff. Subject- showing VA artist work in store windows, borrowing supplies from the display department for the Museum (folding chairs, textiles), etc. Dates- 2/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W.S. Rhoads. Subject- Nomination of Miller and Rhoads, Inc. for Esquire magazines 1st annual \"Business in the Arts\" award. Support of Artmobile II. Exhibition: \"Masterpieces in Millinery\", spring 1958. Preliminary outline of fashion costume requirements for VMT \"Lady In The Dark\". Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Speaker: Philip Adams. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. John M. Miller, Jr. Subject- Trustee/Museum business, Miller served as a member of the Membership Committee, etc. Dates- 6/35-7/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mr. J.G. Pollard, Jr. Subject- asking Mr. Milliken (Director of The Cleveland Museum of Art) for counseling on acquisitions, draft of an agreement where Milliken counsels the Museum staff about proposed acquisitions, etc. Dates- 3/58-3/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from B. Mills in his role as Asst. Administrator of Personnel. Subject- Records, applications, payroll, medical insurance, announcements of new employees and terminations. Dates- 9/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and L. Cheek, Jr. and The Mint Museum staff. Subject- museum practices, loans, etc. Dates- 8/46-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- obtaining the motion picture for which the drawings in the exhibition \"Gil Wilson 'Moby Dick'\" were made. Dates- 12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- printed material for exhibition \"Modern German Art\", invitation to Mr.and Mrs. Alfred P. Jenkins for dinner and exhibition preview, (Mr.and Mrs. Jenkins owned the modern German art collection shown). Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Creation of James Monroe Bicentennial Commission. Dates- 8/57 - 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown between MAC. subject- Section 21-2 of the Richmond City Code: designation of Monument Avenue as an Historic District.  Minutes of meeting of MAC, 4/24/71 and 5/19/71.  Program Planning Task Force, editorial broadcast, roster of members, Articles of Incorporation, By-Laws, agendas, proposals and pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and Mr. Charles Moore. Subject- Moore's application for the Director/Producer position in the Virginia Museum Theatre. Dates- 12/56-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data and his lecture tour to the VMFA. Dates- 4/53 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Georgia Watson Morgan. Dates- 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Search for candidates for public information supervisor, job requirements, resume, publicity agendas, public information schedules, Bulletin vol.20, no.3. Dates- 6/59 - 7/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Mulholland (magician), biographical data/pamphlet, his magic presentation to the Fellows and VMT. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, his address to VMFA membership concerning architectural history. Dates- 10/55 - 8/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Munn Last Will and Testament with list of objects bequeathed to VMFA. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and T. Colt. Subject- Mural competition for Virginia State Library entrance hall: selection process, general assembly commission of monument to Stonewall Jackson. Dates- 4/46 - 6/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Envelopes of photos and negatives of Pre-Columbian art objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Gallery attendance and educational groups. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Oct. Bulletin 1954, copies of the following Members' Bulletins-vol.15, no.2 (10/54) and vol.13, no.3 (11/52). Dates-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison. Subject- working papers for Members' Bulletin Oct. 1955, VMFA calendar 10/55, etc. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Oct. Bulletin 1955. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Design of annual Christmas cards by Virginia Artists: John Ballator, Charles Smith, John Canaday, Allan Jones, Ross Abrams, Julien Binford and Prentiss Taylor. Dates- 11/48 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns transportation for the Museum lecturers and guests 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Christison and Mrs. Pollard. Subject- Inquiries from other institutions regarding museum operations, budget, services, corporate membership, Trustees, etc. Lists of purchases, Fellowship recipients. Dates- 1937 - 53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Arrival of Hollins and VCU students to work on specific projects for one month. Dates- 12/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Proposal and tentative plans, prospective filmmakers. Minutes of Executive Committee of Southern Educational Film Production Service. \"Motion Picture Production\": Study by H. Jeff Forbes and Associates regarding promotion of VMFA. Dates- 11/46 - 2/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memos about various museum topics. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, V. D'Amico (Dir. MOMA), M. d' Haroncourt. Subject- Art education standards, exhibitions, loans, lectures, museum policy, juror search and Jamestown Commission. Dates- 11/55 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Head of Administrative Division), Mrs. J.G. Pollard and L. Cheek, Jr. Subject- suggested future organization of the institution, operating procedures throughout the building, etc. Dates-2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding the division of expenses between the theatre and the museum, 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Promotional literature on the VMFA. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Material deals with segregation policies at museum events. 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence pertaining to printing. Bulletin mock-ups and copies of the following bulletins: Vol.6, No.4,  Vol.7, No.'s 2and7. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and magazine articles. Photographs, press releases etc. 1955-57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed budget groupings for VMFA, according to departmental divisions and table of organization. Dates- 1948 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events, timetables, agendas, Robinson House, housekeeping, security, VMT. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of events, exhibitions, Robinson House. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Schedule of events, mailing schedules, spring agenda, Confederation Conference, Robinson House, VMT, gallery closings, Discovery Cruise: Land of Maya. Date- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Suggested talk by Pres. of Museum to guests at Safari Dinner in Medieval Hall. Dates- 1/22/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Travel package for travel to Asia, brochures, cultural travel tours. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Policy regarding loans of art works to other Museums, employment search, provenance of art objects, pamphlets, newspaper clippings, etc. Resolution: To order immediate safe return of German master works after Nazi occupation, signed by U.S. museum directors. Dates- 4/46 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Applicant search for various positions, invitations, announcements, exhibitions, etc. Press kit for the Milwaukee Art Center. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- General correspondence on exhibitions, loan requests, museum business, job placement, magazine and newspaper clippings. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions, loans, policy. Dates- 12/60 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of music series and members of committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- schedule of program of recorded music, announcement of 6th artist evening 1/46, Museum Bulletin Vol.5, No.2, etc. Dates- 2/46-5/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Jerome Myers. Subject- acquisition of his painting: Street Scene, N.Y., his acceptance to the National Exhibition of American Art, N.Y., etc. Dates- 4/36-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- General correspondence to Trustees and membership, letters to Robert Neutra, exhibitions: Henry Moore, Sport and Horse. Agendas, travel itinerary, events and invitations. \"Encouragement of the Nations Arts\", an appeal to congress, and \"Proposed Federal Advisory Council on the Arts\", Hon. H. Alexander Smith, U.S. Government Printing office, Washington D.C., 3/26/57. Requests for employment, postcards, pamphlets and photographs. Artists: Jean Nikolic. Accessions and Gifts: \"Disasters of War\", Goya; \"Lore Fuller\", Raoul Francois Lanke; \"Dancing Girl With Tambourine\", A. Leonard; \"La Revre Blanche\", Toulouse Lautrec; Revere and John Andrew spoons and vase possibly made by Johannes Loetz Witwe. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Namuth's exhibit of photographs at the Brussels World's Fair, as a juror VMFA. List of Seventeen painters photographed by Namuth: Wm. Baziotes, J. Boynton, L. Calgagno, N. Carone, R. Diebenkorn, J. Ernst, S. Gechtoff, G. Hartigan, E. Kelly, W. Kienbusch, G. Mueller, K. Morris, B. Perlin, C. Marca-Relli, R. Motherwell, A. Reinhardt, L. Siegriest, with original notes by Namuth. Letter from J. Ernst with signature. Date 4/61 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statement of purpose and future of NCA, Board of Directors, Members of Council, fellowships, program grant application. Essay- \"National Endowment For The Arts Before The House Appropriations Subcommittee On The Interior And Related Agencies Tuesday, March 14,1972\", statement by Nancy Hanks (Chair): \"New Dimensions For The Arts: 1971-1972\" Dates- 1970-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L Cheek. Subject- Bill: S. 2379, To provide for the establishment of National Council on the Arts and National Arts Foundation. \"Congressional Record: Proceedings and Debates of the 88th Congress\" Dates- 2/64 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Public-Law 85-874, S. 3335: charted by the 85th Congress to establish a bureau in the Smithsonian Institution devoted to the Performing Arts. \"Peaceful Use Of Creative Energy\": transcript of lecture given by Col. Corrin Strong at the Tri State Arts Conference 4/29/61; Report: \"The National Cultural Center Part Two: What Goes into the Center\" by Dr. Carelton Sprague Smith, 10/60. Minutes for the NCC Executive Board: 5/23/60 and 6/29/60 Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. cheek. Subject- VMFA Council sponsorship of a closed circuit telecast by NCC: \"An American Pageant Of The Arts\". Suggested text of publicity folder, invitations, Newsletter: \"Footlight\", vol.1 no.3.; \"For A Cultural Capital\", Eleanor Roosevelt, 1962, United Feature Syndicate, Inc. NCC, later to be named the \"Kennedy Center For Performing Arts\". Dates- 7/62 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exchange of ideas and experience with other institutions who use audiovisual tool to communicate with museum visitors. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of appeal to serve on Virginia NEFTA committee, roster of members. VMFA appointed as the state agency for the administration of Federal matching funds; to aid in expanding the cultural horizons of a states and territories. \"Guidelines\" 1/67, NEA, Washington D.C.; \"National Foundation On The Arts And The Humanities, Question and Answers\", U.S. Government, Washington D.C., 1965. Dates- 1965 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey of membership, officers of VMFA, according to race, gender, age, position and time served. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz. Subject- Grant proposals, application, letters of support, proposal for a Regional Conservation Center, Soldiers Home, American Marine Painting, NEA statement of purpose, Museums A.S.A. Study, Museum Program guidelines, Smithsonian Puppet Theatre, Young Peoples Theatre Safari, \"American Painting 1974\" and newsletter from the Arts Reporting Service. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Financial assistance to Chamber Music Societies, season brochures, project grant application form for Va. Chamber Music Society. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Grants received by Arts/Cultural organizations in Virginia: guidelines, program committee members, agendas and minutes from the program sub- committee 3/7/68. NEFTA project recommendations for a regional conservation center. Dates- 6/76 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT survey, McLean Arts Center, guidelines for program grants. Senate Joint Resolution No. 67: to create a Virginia development study commission, bill 1483: National Foundation on the Arts and Humanities Act of 1965 and a report with guidelines for VMFA as the sole administrator of NEFTA matching grants. Study for Virginia Artist and Craftsman in regard to education and support. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Grant applications from Virginia Dance Society, VMFA, Confederation of Virginia Art Organizations and Budget proposals. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- State guidelines and general information, terms and conditions, NEA matching grant to begin statewide professional operation of VMT. Addresses of applicants for state grants, roster of Virginia NEFTA committee members. Dates- 2/66 - 6/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Regarding J.M. Brown's service on committee to evaluate grant applications. Valentine Museum NEA application, pamphlets. Date- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for exhibition \"Designer-Craftsmen 1953\" presented in conjunction with the American Craftsmen's Educational Council, Inc., (ACEC), letters to jurors, etc. Dates- 9/52-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and National Gallery of Art. Subject- preview invitations, exchange publications, excerpts from Roosevelt Art Address (from dedication of National Gallery 3/41), loan request for VMFA inaugural exhibition, etc. Dates- 3/41-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets and information about \"National Park and Recreation Week\" sponsored in Richmond 5/21-5/30, 1949. Dates- 4/49-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Geographical directory, \"Historic Preservation\" journal, vol.11, no.3, 1959 and Melchers Memorial. Dates- 1959 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Organization membership information form, questionnaire. NTHP certificate of associate membership 1971-73, employment placement and service pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Travel itineraries, objects for prospective traveling exhibitions, list of slides, forgeries and thefts. Accession and acquisition proposals. Dates- 1/61 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Conservation of objects/paintings, loans. Accessions committee meeting agenda, 10/69. Report on Authenticity of \"Marble Head of a Horse\", Heermaneck Ancient Iranian Collection. Exhibitors: The child and his World. Condition reports and repair estimates for tapestries. Photographs Dates- 12/69 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Sydney Lewis and Peter Mooz. Subject- Authenticity of Cycladic Harpist and 18th century American secretary. Provenances of various objects, conservation and treatment reports. Catalog: \"Arshille Gorky\" Dates- 1/74 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Sydney and Frances Lewis and Peter Mooz. Subject- Conservation/treatment reports, Artnian Collection of self-portraits. Conservation/treatment reports, Kent Independence Portfolio. List of Art Nouveau objects, damage reports, African Collection. Report of authenticity regarding the Cycladic \"Harpist\". Letter from Arnaldo Pomodoro regarding a base for \"Rotating Sphere\". Dates- 5/75 - 8/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Hours of operation, VMFA and other museums, attendance records, VMT, security, UNESCO newsletters 4/58 - 8/59, newspapers and magazine clippings, press releases. Dates- 7/59 - 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cheek's annual N.Y. cocktail party: guest lists, arrangements, rosters of speakers to VMFA: 1951-52 and 1952-53. Dates- 1952 - 54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newsletter to Trustees concerning exhibitions and appointments to Executive Board, accessions, building, etc. Dates- 11/70 - 8/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Morrison (P.R. VMFA), F. Palmer (P.R. consultant), D. McCammond (P.R. Reynolds Metals). Subject- Public Relations of E. Newsom and Co. to conduct a study to determine the needs and potential of VMFA. Program organization, community relations, film, book press material, schedules of events, etc. Dates- 8/58 - 9/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- A survey targeting the needs, current and future of VMFA, with solutions/resolutions for every aspect of the museums' operation. Dates- 11/58 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. A. I. duPont and F. Palmer. Subject- Roster of members of Board of Trustees, letter of appeal for pledges, principal elements of Newsom Program. Dates- 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. A.I. duPont (chair, Ann. fund). Subject- Strategy to raise funds through the Trustees to finance the Newsom Public Relation Firm program for VMFA. Drafts of letters to Trustees, progress report, minutes of 25th Anniversary Committee, 9/8/59. Dates- 12/58 - 7/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- all manner of museum operation: security, policy and procedure, personnel policy. operating budget and VMT. Diagrams of electronic console panel. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Museum business, construction and installation project schedules, budget, Equal Opportunity regulations, design contract for the Council shop, salary scales. Dates- 10/73 - 1/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum business, Conservation Lab, Fine Arts insurance coverage, budgets, Cabell Foundation gift. \"Report on the Freedom of Information Act\". Depreciation of \"Death of Regulus\", Salvatore Rosa. Dates- 12/74 - 7/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum business and operations, budget, contractual agreement between VMFA and Harwicke Associates, Inc. for North Wing project. \"Organization of the Virginia State Government\". Dates- 10/75 - 11/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- UVA architect and his membership in the Collectors Circle. Dates- 1/63 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General assistant to VMT, employment recommendation. Dates- 6/55 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Possible acquisitions from his gallery. Dates- 10/62 - 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L Cheek and J.M. Brown. Subject- Loans, exhibitions, VMT, Rotunda Club, Fellows. Accessions and gifts: \"Metamorphosis\", Grillo. Dates- 4/57 - 6/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- correspondence with individuals, institutions and companies beginning with the letter \"O\". Dates- 4/43-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, photo and job description/responsibilities as program director for \"Art Column\". Dates- 3/61 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- As a scenic design consultant, his lecture to VMT in connection with the Exhibition: \"Design For The Theatre\". College Drama Festival, biographical data. Dates- 1/60 - 2/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Mellon, E. Brooks Jr., and M. Bush. Subject- Financial support: Artmobile II, building grant and museum survey to expand visitors use to VMFA. Photographs, newspaper clippings. \"A Study in Modern Giving: The Old Dominion Foundation\", reprinted from articles in Richmond News Leader. \"Bollenger Series\", catalogue of special edition books. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Bush (Asst. to Pres. of ODF) and P. Mellon (Pres. of ODF). Subject- Financial assistance to VMFA, Artmobile II, collectors circle, and Old Dominion Foundation statement of purpose. Dates- 9/58 11/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Dan Olney. Subject- receiving a Senior Fellowship 1941/2, outline for a lecture, etc. Dates- 10/40-6/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Governor Thomas B. Stanley. Subject- opening of the new wing. Dates- 8/54-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- opening and reception for Governor Stanley. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitations and replies to the opening of the Members' Suite, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opera Society's first season. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- miscellaneous printed materials for the Museum, etc. Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- tickets to the Museum for State Lions' Club convention, etc. Dates- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- ideas/proposals for \"Members' Room\", suggested operating procedures, menus, pricing, etc., cost estimates, \"Refreshment Room Statement\" 1955, etc. Dates- 1/55-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre operations proposals, list of staff, their duties and salaries, etc. Dates- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- lists of statewide business, civic, commercial and other organizations, invitation list for General Assembly/Governor's reception, etc. Dates- 1953-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Orloff's (Chief-interpreter of U.N.) lecture to VMFA concerning the Faberge Collection, Biographical data. Dates- 11/49 - 4/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of inquiry to firms specializing in plaster and wood ornament, catalogs. Dates- 5/54 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- museum practices especially concerning finances of other US art museums, etc. Dates- 4/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Near and J.M. Brown. Subject- Artmobile, VMT, Collector's Circle, Fellows, Chapters/Affiliates, biographical data, campaign to restore the Jefferson Hotel, list of exhibitions from 1942 - 45.  International Exhibition Foundation, the appointment of John A. Pope (Director of Freer Gallery) as advisor/consultant to VMFA for expansion of Far Eastern Collections.  Acquisitions and gifts. Artists: Nell Blaine, Howard Kanovitz, Otto Piene. Gifts: Masson lithograph, Irving Penn photo and 15 Russian 19th century paintings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Painter's lecture on \"Armor and Medieval Man\" to compliment the \"Arms and Armor\" exhibition, biographical data. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Nelson Parker. Subject- announcement of Board meetings, etc., Date- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Appeal to Virginia Senate and legislature regarding sufficient museum parking utilizing land belonging to the UDC (United Daughters of the Confederacy). Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gift of Egyptian Gallery and English Decorative Arts Gallery. VMT, and her membership as a Fellow and in collector's circle. Dates- 4/61 - 10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. J.G. Pollard and Executive Committee of the Board. Subject- proposal and planning stages of conferring an honorary degree of \"Patron of the Arts\". Dates- 6/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject-housing J.B. Payne books in library of the College of William and Mary in exchange for paintings from their collection of art for display at the Museum. Dates- 1/50-4/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek's service on the Board of Trustees and on the Advisory Board of the School of the Arts. Minutes of U. of P. Executive Board, 4/8/60, 4/29/63, 4/26/65 and Annual Report of Graduate School of Fine Arts, 3/64, 5/65. Dates- 10/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek as chair of Fine Arts Committee. Subject- Letter to P. Coombs on his appointment as Assistant Secretary of State for Educational and Cultural affairs, UNESCO newsletter, Nubian archeological sites. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and A. Frankfurter (editor, Art News). Subject- VMFA general collection, list of gifts and purchases, 1955-67, scope of exhibitions, dates, publications, colorplates. List of VMFA Board of Trustees, 1962, Gobelin Tapestries. Dates- 1953 -64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Articles based on exhibitions and general collection of VMFA, VMT, invoices, newspaper clippings, pamphlets, reviews, newsletters. NEA museum programs, research education grants. Dates- 1967 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Articles of VMFA: \"A Spring View of Virginia Museum\", 10/56, Wm. Lacey, Editor; \"Art isn't Caviar at this Museum\", Sidney Shalett, 7/57, The Diplomat. Dates- 10/56 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Articles and editorials pertaining to VMFA: Newsweek, Time, Art Gallery, Antiques, Museum News , etc. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Harper's Bazaar, New York Magazine, Apollo, reviews. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Editors V. Dabney (RTD) and J. Kilpatrik (RNL). Subject- Artmobile, reviews of VMT and media coverage by print journalists, newspaper clippings. Essay- \"The Arts In The Sixties\", by L. Cheek. Dates- 11/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and F. Stewart and C. Jones. Subject- Exhibitions: \"Form Givers\", Sport and Horse\" and Mellon Collection. Dates- 2/60 - 12/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information on candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Job descriptions. Dates- 1953 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, P. Near and L. Cheek. Subject- Fellowships: list of recipients from 1940 - 1955. Prospective employees and VMT. Dates- 12/54 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- personnel rules and procedures of VMFA and the Commonwealth of VA, mandates from the Governor's office, additional personnel and pay increase requests, Roster Cards (listings of all employees and pay rates), etc. Dates- 8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., and R.A.Velz (Administrator). Subject- listing of division duties, proposed salary ranges, information about hiring an artmobile driver-curator, etc. Dates- 2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of L. Cheek, Mrs. J.G. Pollard, theatre staff, Ariel Ballif, Vincent Bowditch, Arthur Ballet, R. Velz and P. Near. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Personnel matters. Dates- 4/66 - 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains general information about the system and ratings for museum employees. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about the candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about various candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Governor's personnel survey staff. Subject- employment questionnaire, job descriptions (buildings and grounds staff, watchman, registrar, secretary, etc.), etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Governor's personnel survey staff. Subject- employment questionnaire, VMFA tentative classification of positions (3/37). Dates- 10/36-4/37.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Fiske Kimball (Director of Penn. Museum of Art). Subject- loans for VMFA inaugural exhibition, exchange publications, counsel on museum practices, etc. Dates- 5/35-5/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R.L. Dickinson (Hanover Bank). Subject- The Library of Philanthropic Information at the Hanover Bank, New York City. Dates- 11/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- E. Turpin Phillips, a Virginia citizen and his request to see proposal plans for expanded museum parking onto UDC property. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Consultant for VMFA acquisitions. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Duncan Phillips (Director, Phillips Memorial Gallery). Subject- request for loans to VMFA inaugural exhibition, etc. Dates- 9/35-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Installation of VMFA photography department, list of equipment and supplies, employment of staff photographer: Gordon Burns. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of entries to the \"19th Photographic Salon\" exhibition, schedule for jurors, etc. Dates- 3/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) and L. Cheek, Jr. Subject- purchase requests for photographs. Dates- 10/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Ivan Dimitri as Director of Photography in the Fine Arts at the Brussels World's Fair, his service on the advisory committee, list of photographs given to VMFA from the PFA exhibition. Directors of America's Finest Museums: portraits, credo of on art and their personal selection of photographs from the PFA archives was the subject of the World's Fair exhibition. Etching by Levon West (Ivan Dimitri). Dates- 12/59 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Atillio Piccirilli. Subject- biographical information, loans of work to the Museum, etc. Dates- 7/35-1/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- viewing the feature film 'Pictura \"An Adventure in Art\"', invitations, contributions, listing of attendance, etc. Dates- 2/52-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Herman Starr (Pres. Pictura Corp). Subject- A group of films devoted to the fine arts. Presentation of \"Leonardo da Vinci\" at Richmond's Lee Art Theatre and film on Goya to accompany exhibition. Dates- 1/51 - 3/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Gallery dinner, menu, agenda, program for event. Dates- 8/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- policies on use of meeting rooms and studios, special food service, interpretative services, scheduling programs, etc. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence to and from him when he was President of the Board of Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- the VMFA inaugural exhibition, Museum events, finances, Museum Board business and bequests/gifts to the Museum, etc. Dates- 1/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- Museum operations, investments, finances and gifts to the Museum, etc. Dates- 1/37-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as President, Trustee and membership in the Collector's Circle. Biographical data, museum business: operating fund, Artmobile, Newsom Report, 25th Anniversary fund, Melchers Estate transfer, gifts, contributions, Fellowship Fund. Exhibitions: Sport and Horse. Dates- 9/53 - 2/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as a Trustee, VMFA Resident Craftsman Program. Dates- 2/64 - 2/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Design of members Bulletin, records retirement, museum business. Dates- 1949, 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum business, Pratt installation, museum courses and equipment. Dates- 9/54 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Gift of \"Rotating Sphere\" from Lloyd Noland. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- As founder and director of the Barter Theatre, proposed plans for Theatre Virginia and NEA funding. Dates- 4/67 - 5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and Mr. David Payne. Subject- correspondence with Payne about arranging the exhibition \"Portraits by David Payne\", biographical information, letter from Phillip Johnson, etc. Dates- 5/51-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, L. Cheek, Priscilla Crum (Curator, Asst. in Education). Subject- Gallery representing portrait artists, biographical data on various artists and portrait of Senator Byrd. Photographs. Dates- 6/45 - 11/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statewide tribute to John Powell (a native of Virginia) and the presentation of his \"Symphony in A\". Date- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Correspondence with Pratt as a trustee. Discuss first Easter egg exhibition in 1949 and Hammer visit. Letter from Schaffer (A La Vieille Russie) in 1949 about lending some pieces for an exhibition. Includes a few letters from Mrs. Pratt before she died, about a Faberge table donation in 1942 and donating \"Twice Seven\" to the Library. Establishment of the Fellowship fund, including letter from Twombly as early recipient. Pratt Collection: insurance estimates and installation. Gift of funds to purchase the first Artmobile from Pratt and Miller and Rhoads. Dates- 7/40 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, Fellowship committee, underwriting of Faberge booklet, terra-cotta statue of \"Diana\" from the Pratt Estate given to VMFA, newspaper clippings. \"A Plan For Fellowships For Virginia Artists\" as suggested by Mr. John Lee Pratt. Minutes from Fellowship Committee meeting, 6/12/42. Dates- 12/49 - 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. John Lee Pratt. Subject- Trustee/Museum business, VMFA fellowship updates, etc. Dates- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown. Subject- Biographical data, fellowship recipients: Cynthia Morehead Smith, Paul Steuke, June Chapman, Fred Bonds, Richard Kevorkian and Reginia Perry. Pratt Collection: catalogue, except from forward by L. Cheek, questionnaire regarding Mrs. Pratt's initial contact/purchase sources for Russian Jewels, list of objects bequeathed by Pratt Estate. Dates- 1/57 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposals and cost estimates for Healy's Sitters exhibition and Pratt collection catalogues. Dates- 4/50-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek, Armand Hammer (Hammer Gallery) and Alexander Schaffer (La Vielle Russie Gallery). Subject- Legal claim against the Romanoff Family assets via the Pratt Collection of Russian Jewels. Possible lawsuit by A.G. Sharkey, President and Trustee of Marine Transport Service Corporation in NY who had judgment against Czar Nicholas Romanoff since 1918. Hammer and Schaffer dismissed it. Details of Pratt bequest, provenance of objects, announcement of bequest with sample of text to be used in pamphlet. Excerpt from \"Twice Seven\", by H. C. Bainbridge, E. P. Dutton and Co. Inc., 1934 (reference to Faberge Jewels owned by Armand Hammer). Dates- 8/47 - 10/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. J. G. Pollard. Subject- Installation, list of items on exhibition, security and transportation. List of objects in the collection of Mrs. Joseph E. Davies and pamphlets. Correspondence regarding various showings around the state - Roanoke in 1950 and Norfolk in 1951. Dates- 1/49 - 4/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from C. Humelsine. Subject- General correspondence to the VMFA membership, calendar of events, museum news. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to the media from the Museum. Subject- news releases about Museum events. Dates- 10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News releases about Museum events. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- positions and duties for volunteers and guards during an undisclosed preview. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Gov. Price. Subject-proposed salary increases, Board meeting announcements, nomination of Colt to select work to go to the Annual Exhibition of American Art 1938. Dates- 1/38-11/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- On the occasion of his being collector of the Year 1964, his cookbook including photographs of VMFA and the menu from the Collectors Gala, newspaper clippings. Gifts: Lachaise drawing. Dates- 6/63 - 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Grigaut and P. Near. Subject- A. Priest as Metropolitan Curator of Far Eastern Art, his service as a consultant to VMFA (1963-69) in the formation of the Asian collections. Correspondence on examination and provenance of works in the VMFA. Minutes of Executive Committee, 9/9/63, 12/8/64, minutes of Accessions Committee Meeting, 9/9/63. \"A Buddhist Paradise\", A. Priest, AIV, 1963. Newspaper clippings, postcards, etc. Dates- 1963 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) and Mrs. J.G. Pollard. Subject- printing schedules for 1956, miscellaneous print job specs, etc. Dates- 11/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- asking local corporations to fund the printing of school guide sheets for the Museum. Dates- 8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence pertaining to bulletin layouts, copies of Members Bulletin Vol.9, No.'s 1and7 and copies of Christmas cards 1948-9, etc.. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum publications: Contemporary Paintings 1946, Program Season of 1947-8, The VMFA Annual Report 1947-8, Virginia Art 1947 and Museum Bulletins: Vol.3 No.'s 1,2,4,6and9,  Vol.4, No.'s 4and5,  Vol.7, No.'s1,2,3,4,5,6,7,8and9,  Vol.1, No.8,  Vol.8, No.'s 2,3,4,5,6,7,8and9,  Vol.9, No.'s 1,4,5,6and8. Dates-9/42-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- securing a speaker (Robert T. Paine) for the exhibition \"Prints by Hiroshige\", thank you note to Mr. Paine, etc. Dates- 11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed programming for the Museum. Dates- 2/49-9/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and lecturers. Subject- proposed program/events and exhibition schedule, biographical information on lecturers, etc. Dates- 10/50-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- Artmobile schedules, Three-Days-In-March, members travel, grants, pamphlets. \"Proposal For The Development Of American Writers And Resources With Special Emphasis On The Production Of New Forms Of Drama Created Especially For Television\"; The Mark Report\": A survey and evaluation of VMFA statewide programs. Dates- 1974 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safaris, Artist-in-Residence, lectures. Film series: \"The Romantic Rebellion\", exhibitions, COVA events, agendas, Professional Workshop. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Nancy Durett. Subject- violin recital 4/47. Dates- 4/46-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- memos to determine dates for the Trust Fund Orchestra to perform at the Museum. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- VMFA educational services, VMT and all manner of print and broadcast media promotion. Exhibitions, publicity schedules, press releases and newspaper clippings. Dates- 9/50 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General invitation to groups to participate in VMT. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Prospective givers: foundations and individuals. Date- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newsom Report: \"A Report To The Virginia Museum Of Fine Arts\", 11/19/58, Earl Newsom and Company, a study of VMFA public relations, information and communications responsibilities. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Various outside publications mentioning VMFA, 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Design and production of AIV: promotion, organization, printing schedules, contributors , etc. Catalogue \"Architectural Drawings in Virginia\" and \"\"Confessions of an Ex- Elitist\", M.W. Fishwick, Popular Culture Association, American Studies Institute, Lincoln University. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photo of the Museum and of the \"Brussels Tapestry Exhibition\" 1949, Museum publications: VMFA Catalog of Paintings 1938, The Collection of Catesby T. Jones, 1948, and the following VMFA Members' Bulletins: vol.10, no.'s 1-5, etc. Dates- 1938-1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- copies of the following publications: The VMFA Annual Report 1947-8, The T. Catesby Jones Collection, Contemporary American Paintings 1948, William James Hubbard, Three Virginians Behl, Hunter, Blaine, Portrait Panorama, Program Season of 1947-8 and Member's Bulletins: Vol.1, No.8, Vol.8, No.'s 2,3,4,5,6,7,8and9. Dates- 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release, jurors. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the Parsons gift of the Egyptian Gallery and 25th Anniversary Fund Committee. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations to the VMFA's 25th birthday celebration for the affiliates, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release announcing loan of Chinese wine vessel. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 25th Anniversary projects, press release: message from the President (Robertson). Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Appeal to Trustees for contributions to the Drama Festival.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: 28th Virginia Artists Rotating Exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing a network of local art centers and museums affiliated with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VMFA as regional jury center for the national exhibition \"Designer-Craftsmen-U.S.A.\", news releases, information on obtaining a jury and a speaker, etc. Dates-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Va. Architects, Photographers and Designers, seminar for Historical Administrators, VMT and Virginia Composers Concert. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release and photo for first issue of AIV. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release on Arts in Virginia. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains a cover letter for a mailing, no date. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing 25th anniversary events, exhibitions, VMT, etc. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing conclusion of 25th anniversary celebration with the presentation of awards to Colonial Williamsburg, The Old Dominion Foundation, sculptor: Carl Milles, architect: Eero Saarinen, collector\" Robert Lehman and Naval designer: William F. Gibbs for their outstanding contributions to the Arts in Virginia. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- obtaining the exhibition \"Built in the U.S.A.\", presenting programs related to the exhibition, biographical information on Phillip Johnson, etc. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photo of \"Little Triton\" fountain for the Bulletin, copy of Members' Bulletin vol.15, no.1(9/54), etc. Dates- 9/53-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Members' Bulletin. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Members' Bulletin, calendar of Museum events. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vol. 13 no.'s 1-9, 1952-5/53; vol. 17 no. 8, 2/57; vol. f19 no.'s 7 and 8, 3/59 - 4/59. Biographical data on Iren Marik, pianist, and reviews. Dates-1952 -53, 1957, 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vol. 20 no.'s 4-6, 12/59-2/60 Dates- 12/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases: Tours organized through Virginia Federation of Women's Clubs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases: season opening production and call for volunteers. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Extended performances of VMT's \"Carousel\". Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Bus trips to VMT. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of certificate winners and a gallery guide from the \"Virginia Artists\" exhibition 1955. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Portions of VMT concert to be broadcast with commentary and explanations of technique. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Programs and photographs. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Information regarding the Museum's chapters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photographs [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing festival with guest artists: Helen Tamris and Daniel Nagrin. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Critic, Stella Adler, Speaker: Alfred de Liagre. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- TV news film of highlights of the College Drama Festival, script, telegrams and surveys to Virginia TV stations concerning air time and usage. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Announcement of individual participants announcing their attendance in the festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loan of Cone collection from the Baltimore Museum of Art to VMFA for an exhibition, a catalogue of the Cone collection, news release about the  bequest of the collection to the Baltimore Museum of Art, etc. Dates- 10/49-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Public information schedule for exhibition: \"The Architecture of Skidmore, Owings and Merrill\", \"The Little International\". Artmobile public and information schedule and Bulletin, vol. 19, no.2 10/58. Essay- The Little International Exhibition\", Fred Olsen, 4/57. Dates- 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills, reviews and biographical data.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- list of designers proposed for inclusion in the exhibition \"Design for Theatre\", tentative list, etc. Dates- 8/52-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing loan of painting by Winslow Homer. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Evaluation of the Discovery Television Series sponsored by the San Francisco Museum of Art. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Statewide Press Release announcing fellowships 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press Releases regarding fellowships 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills and posters. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Buckminister Fuller. Subject- Exhibition of the work of 13 leading architects, opening lecture given by Buckminister Fuller, list of catalog content, gallery talk, press release, invitations and biographical data. Photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing formation of a fundraising committee for the 25th anniversary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions: \"Drawings From Five Centuries From The Cooper Union Museum\", \"Hans Moller\", \"Is Photography An Art\", \"Sport and the Horse\", \"25th Anniversary\". Parsons gift of the Egyptian Gallery, Chamber Music Society, Virginia Artists, evening hours, speakers/lecturers, Virginia Art Alliance, state services, Fellowships, Search for a female collector with a collection of Imperial robes. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases announcing exhibition of contemporary glass. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions: Skidmore, Owings and Merrill (AIA for Reynolds Building), publicity, progress report on exhibition arrangements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Ivan Dmitri. Subject- Symposium on photography conducted by Dmitri with a panel composed of: A. Hyatt Mayor (MET) and Hilton Kramer (Arts Magazine). List of paintings and photograph comparisons and press releases. Photographs. Dates- 10/59 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Status report of the Broadway production. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about the loan exhibition. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Speaker 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: History of Lynchburg Center published in the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Brief film on masterpieces of American silver, script and outline for the 25th anniversary program. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains press releases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains layout and planning for the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of the moving of art objects, installations, physical plant and behind-the-scene workshops and people.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Editorial Writers, agenda, and guest speakers, exhibitions, events, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Ms. Nemone Balfour. Subject- a ballad concert given by Balfour sponsored by the Museum, new release, printed material, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: R. Neutra lecture in coordinate with his VMFA exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitations to grand opening of the 10/54 VMFA addition. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the Norfolk Museum affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Bus tour and photograph. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of galleries. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing gift of marble statue \"Dawn of Young Womanhood\", Oronzio Maldrelli from Miller and Rhoads Department Store. Press releases from: Mariners Museum, National Gallery, Henry Ford Museum, Walker Art Center and the MOMA. Dates- 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: purchase of Patronship by Richmond businesses for season tickets to VMT.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- radio transcripts and publicity releases. Dates- 1948-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases, publicity schedule 6/26- 7/22. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 5/56-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 4/51-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 1952- 5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases for various museum events: theatre, exhibitions, films, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Affiliation announcement of the Roanoke Fine Arts Center 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the loan of \"The Ecstasy of St. Francis\" by Carravaggio. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release announcing the acquisition of a rare funeral monument from 2nd century B.C. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Advertising copy and selection of artist to draw a cartoon. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release for VMT promotion. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing special schedule to accommodate bus trip from out of town. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity schedule and advertising copy. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- scheduling a speaker (Bernard V. Bothmer) to coincide with the exhibition \"Smith's Egypt\", photo and biographical information about Bothmer, etc. Dates- 6/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition and Publication information regarding \"Sport and the Horse.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- News Releases regarding newspaper column 1960. The column was carried in 50 Virginia newspapers as 42 weekly articles by Cheek. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Syndicated column written by Cheek as part of a promotion for the Museum's 25th anniversary. Contains a mailing schedule for the column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Return forms from newspaper publishers regarding column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Promotional letter for newspaper column. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast script for performance promotion. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from G. Friddell (Public Information Director). Subject- controversial nature of the \"American Painting 1950\" exhibition, James Johnson Sweeney was the juror for this exhibition, Sweeney biographical information, News Releases, exchange/gift publications of the catalogue to this exhibition, etc. Dates- 1/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast script promoting 25th anniversary year. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 25th Anniversary, broadcast scripts, VMT and list of Virginia and Washington TV stations. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast promotion script. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release with performance information  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release for VMT promotion. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release concerning a 25th birthday year magazine, the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Tours arranged by Virginia Federation of Women's Club in 6 Virginia towns to see VMT production of \"Carousel\" Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews of show. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Introductory speeches. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"The Tempest\", \"The Mad Woman of Challiot\", \"Berkeley Square\", \"I Remember Moma\", \"Noah\", \"Blind Alley\", \"The Devils Disciple\", \"High Tor\", \"Oh Wilderness\", \"Private Lives\", \"The Petrified Forest\" and \"Victoria Regina\". Dates- 1955 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Assigned design projects and newspaper clippings. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- National broadcasts focusing on topics of national interest, VMFA requests for financial assistance to host a \"Meeting\", pamphlets and photograph. Dates- 1953 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Aubrey Bodine and Gordon Bunshaft, biographical data, Competition promotion, preliminary text for official entry forms, press release. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- list of pieces included in the \"Virginia Artists 1953\" exhibition, list of purchases made from the exhibition, information on the jury and on purchase prizes, letter from Jacques Lipchitz, etc. Dates- 12/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about the exhibitions and photographs of the artists and their works. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Jurors: Richard Lippold, Isabel Bishop and Perry Rathbone. Press release announcing event.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Eighteenth annual exhibition held at the Museum and sponsored by the Camera Club of Richmond. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- fountains that flank the Museum's front entrance. Dates- 9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photo of conservation lab, gift and exhibition of the Williams collection of art at VMFA, announcements to and articles in major art publications about the gift of the Williams collection. Dates- 3/52-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition \"The American Cartoon\", original American cartoons from the collection of Mr. Art Wood, invitations and R.S.V.P.'s to exhibition preview, photos of some of the pieces of cartoon art, etc. Dates- 5/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Wm. Quillan Jr. (President of Randolph Macon Women's College). Subject- Loan of Randolph-Macon's collection of paintings. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Isobel C. Lee (Steuben Glass). Subject- Loan from Queen Elizabeth, installation, lighting and press-release. Dates- 7/10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, AAM, Jamestown Foundation, loans, Accession, gifts, biographical data and resumes. Exhibition: Randolph Macon Collection. Letter from Richard Rogers to lecture to VMT, Reston Foundation: Minutes of the Executive Meeting, 9/12/60. Dates- 9/60, 5/62 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Loans, contributions, acquisitions, exhibitions and Africa Gallery. Dates- 1/68 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to W. C. Cottrell (Elec. Corp.). Subject- Proposal and technical information for Audio-Guide radio-lecture, pamphlets, blueprints/plans of galleries. Dates- 5/72 - 8/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Priscilla Crum and M. Christison. Subject- Broadcast of Biennial Jury, notes from WMBG broadcast, 12/6/46, \"What Is Your Art Museum\", participants: Priscilla Crum (Curator of Education), Edward Davis III (Curator of Decorative Arts) Mrs. J.G. Pollard and T. Colt. Notes from WLEE broadcast, \"Know Your Museum\": a weekly series with guests from the local arts community and \"For Parents Only\": a children's radio program. Dates- 2/46 - 11/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- radio talk shows and transcripts. Dates- 12/37-9/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr.and Mrs. Robert C. Randolph. Subject- the loan of a portrait of Wm. Henry Harrison by Rembrandt Peale to the Museum for the inaugural exhibition and an additional later loan. Dates- 9/35-11/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek and Mary F. Williams. Subject- The service of Beatrice Von Keller as VMFA Acting Director during Colt's military duty. Biographical data, Randolph-Macon Collection including the acquisition of the Bliss Collection. Dates- 7/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Hours of operation, policy, menu. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Frank Rehn Gallery. Subject- loan of paintings to inaugural exhibition of VMFA and later proposed acquisitions from the Frank Rehn Gallery, etc. Dates- 9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Artist from West Virginia: application and recommendation for a Rosenwald Fellowship by T. Colt. Dates- 6/49 - 10/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rennolds' service as a Trustee and entertainment committee. List of objects in the home of her mother, Mrs. John Kerr Branch, that may be of use to the VMFA. Dates- 1/53 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Policy and requests for rental of museum meeting rooms. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for state/federal funding for the creation of the \"Latrobe Theatre\" (never built), a professional theatre organization. The design of the Theatre was based on plans by the 19th century architect Latrobe. \"The Virginia Museum Theatre\", statement of facts in relation to charges appearing in the Richmond Times - Dispatch, 10/13/66. Subject- 8/65 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of requests and general correspondence. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, Edward Kallop and L. Cheek. Subject- Inquiries concerning specific artists, objects, valuations, conservation/restoration, etc. Dates- 6/56 - 6/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek served on the Board of the Reston Foundation Community Program, includes roster of board members. Dates- 11/10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to the Executive Director of the Reston Fund. Subject- L. Cheek's membership on the Board, and proposals for development of the Reston Community, low-cost housing, maps, agendas, Reston architects, Minutes of Annual Meeting- Reston Community Foundation,12/15/64, 4/25/65, 11/12/67, 4/8/68. Dates- 6/65 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMFA membership and letter of condolences to the Reynolds family. Dates-10/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. cheek. Subject- R. J. Reynolds service as Chair of VMFA promotion and development committee. suggested organization agenda for the meeting of the Public Relations Development Committee, to further the advancement of VMFA. Contributions, invitations and photographs. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"R.S. Reynolds Memorial Award\", awarded annually to the architect or group of architects who make the most significant contribution to the use of aluminum, aesthetically or structurally, in the building field. Theodore Rozak chosen to commission the first sculpture. Dates- 5/58 - 11/6 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Miss Katherine Rhoads. Subject- a bequest to the Museum. Dates- 5/35-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from G. Martin (Secretary of VMFA). Subject- Rhoads Medal awarded to persons who have made a notable contribution to Art in Virginia; list of recipient, excerpts from the Minutes of the Executive Board, 5/25/69/. Biographical data on Concetta Scaravaglione, designer of medal. Medal awarded to Walter Spencer Robertson. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence to and from Rhoads as Vice-president Board of Trustees. Dates- 1934-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contributions to a purchase fund in his memory. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek, Mrs. J.G. Pollard and P. Mellon. Subject- Museum business, exhibitions. Pratt Estate, John Barton Payne Endowment, Resolutions in memory of Judge Payne, resignation of Colt, Fellowships. List of employees and job descriptions. List of Benefactors, Patrons and Life members, Board of Trustees, Rockefeller Foundation, segregation, contributions, gifts and accessions, including Mellon. Dates- 11/40 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W. Robertson, Mrs. J.G. Pollard and W.S. Rhoads. Subject- General letter to membership from the President (W.S. Rhoads), Webster S. Rhoads Medal, Artmobile III and South Wing. Dates- 1951 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General Museum Business, VMT, policy regarding expense accounts and museum entertaining. Dates- 5/57 - 11/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitation list, invoice for cocktail party honoring W.S. Rhoads. Dates- 5/8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Westwood Winfree (Pres. RAA). Subject- Winfree's participation in the Virginia Rotating Exhibition and other events. Requests for restructuring of jurying procedure. \"Reasons For Suggesting A State-Wide Artists Study Committee To Be Sponsored By The Virginia Museum Of Fine Arts\". Dates- 2/56 - 9/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Richmond Chamber Music Society programming seasons: 1950-1, 1951-2, 1952-3, 1953-4 and 1954-5, membership rosters 1951-2 and 1954-5, etc. Dates- 10/50-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed policy for relations between VMFA and Richmond Chamber Music Society (conducting events there), listing of Society members, etc. Dates- 1/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- To increase Jaycees interest and support of VMFA. List of member organizations. Certificate to L. Cheek as a member of the \"Civil War Centennial Committee\", Minutes from the \"Society of Architectural Historians,1/30/58. The presentation of the \"Distinguished Service Award\" to L. Cheek. Dates- 11/60 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Disturbances in area of Westmoreland Place (Cheek residence), Cheek's Anniversary Party. Presentation of Canal Locks to Mayor M.M. Crowe. Dates- 2/64 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Field trips taken to the museum by schools throughout the state, 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Broadening cultural horizons in Richmond, proposal for Civic Center in downtown Richmond and the necessary steps for improvement of downtown, editorials, newspaper clippings. \"Plight Of Museums Is Very Real\", L.J. Ahlander, 11/25/65, Washington Post, \"Activities Center Study For The City Of Richmond\", Wm. A. Briggs A.I.A. and B.R. Johns A.I.A., Associated Architects, 8/1/64, \"Modern Living\", 11/6/64, Time and \"Are Most cities Too Ugly To Save\", 11/30/64, U.S. News and World Report, Inc. Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains financial statements for the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- proposed relationship of The Richmond Film Society with the Museum (use of Museum facilities), Film Society programs 1951-2, 1952-3, 1953-4, 1954-5 and 1955-6, etc. Dates- 6/50-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of compliment to editors and journalists of Virginia periodicals regarding VMFA. Dates- 7/58 - 19/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Priscilla Crum, T. Colt, L. Cheek and M. Christison, Theresa Pollack, H.H. Hibbs and Mrs. J.G. Pollard. Subject- Exhibitions and musical programs. Dates- 9/45 - 11/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, J. Schaeffer (General Manager, RSL) Subject- Opening performance and concert dates. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gala opening event of Artmobile. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Willock (Exec, Dir.). Subject- Renewal of Affiliate members. Dates- 1961 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Charter proposal for a Roanoke museum and minutes from the Roanoke Fine Arts Committee. Dates- 12/47 - 9/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Special building committee, draft of letters from Affiliates/Chapters in support of VMFA expansion to be sent to the House Appropriations Committee , members of the Senate and members of the State Finance Committee. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and E. Will (Pres.). Subject- Purchase of \"St. John the Baptist\", Rodin, in memory of W.S. Robertson. Dates-2/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile proposal, museum business, exhibitions: \"George Stevens Makes A Film\". Fellows organizing campaign, selected list of paintings in VMFA permanent collection. Rosters: Members of commission of State Capital and Outlays and Means of Financing; VMFA Executive Officers and committee's. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter from the President to the membership (W. Robertson), grant proposal for North Wing architectural plans.  List of objects needed for VMFA collections.  Rejection of the north facade by the Arts Commission.  Schedule of events, newspaper clippings.  \"Connoisseur's Comments\", guided VMFA tours narrated by world-famed collectors, critics and curators.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- letter of interest in erecting a monument to Bill Robinson. Dates- 12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rockefellers' membership in the Fellows and their subsequent donation to aid in the Drama Development program. Dates- 1955 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Charles Fahs (Dir. Rockefeller Foundation), W.S. Rhoads. Subject- Proposal for the formation of VMT with initial funding from the Foundation, \"Charter for the Rockefeller Foundation\": Statement of purpose and methods of operation. Dates- 1/50-12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Roman Bronze Works Inc. Subject- casting busts of Gov. Pollard and Judge Payne and casting other figurative groups. Dates- 9/35-1/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of authentication. Dates- 4/60 - 8/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Addresses made by F.D. Roosevelt upon the opening of the Museum of Modern Art. Dates- 6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Matilda McCord Roper (Mrs. George W. Roper). Subject- donations. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, expansion of VMFA print collection, The Alverthorpe Collection, loans of prints. Dates- 8/65 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA as recipient of a rose garden by the Garden of the Patriots. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- M. Ross as VMFA advisor, on retainer, for Byzantine and Medieval acquisitions. the Heeramanecks and Hunt Collections. Dates- 9/65 - 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data and brief history of Rothschild family. List of paintings in VMFA from Rothschild Collection. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Text and pamphlet for the opening of the Melchers Room. Photographs. Dates- 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Edward B. Rowan. Subject- mural competition for post offices in Petersburg, Hopewell and Richmond. Colt acted as chairman for a regional committee to carry out this competition for the Procurement Division, Public Works Branch of the Treasury Department, etc. Dates- 3/30. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- securing a speaker (Mr. Everett Parker Lesley, Jr.), obtaining a transparency from Time magazine of one of the Museum's eggs, etc. Dates- 3/53-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- General correspondence to Trustees regarding Museum business and events. Photographs and slides. Date- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- General correspondence regarding loans, acquisitions and invitations. Dates- 1/62 - 11/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Eero Saarinen. Subject- Aline Saarinen broadcast on the VMT Shakespeare Preview. Drawing. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition: \"Master Drawings\", with lecture by Paul Sachs. Theft of Degas drawing on loan to VMFA from the Fogg. List of London and Paris art dealers. Dates- 5/51 - 6/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- letters from other U.S. Art Museums about staff salaries and Curator's Report activities from the 1st season 1/16-5/24 1936. Dates- 1936- 7/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for purchase of cases from the Greek Gold exhibition. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Form letters: members, advertisements, donors, other institutions regarding loans, lectures and publication requests, etc. Dates- 1967 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuels gift of building for the Front Royal Library. Loan and cleaning of \"View Near Oxford\" by Richard Wilson. Dates- 4/52 - 9/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- 10th Miller and Rhoads Women's Forum; invitation to Philip Johnson to serve as a speaker. Biographical data on James Parton and Max Abromovitz. Dates- 8/51 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Hans van Weeren-Griek. and Concetta Scaravaglione. Subject- exhibition of her work and insurance of a piece that was damaged. Dates- 9/40-7/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events and mailing schedules. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events and mailing schedules, Paul Taylor Dance Tour, Safari-Dinner, agendas, etc. Dates- 7/70 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Appraisal of an agate cup belonging to Mrs. Paul Mellon as a work of art, for the Customs Commissioner. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- war-time high school art exhibition held at Miller and Rhoads department store, list of hostess for this event. Dates- 1943-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Invitations and general correspondence regarding the opening's of new art centers/buildings of various institutions, anniversary celebration, National Presentation Broadcast of Artmobile. Dates- 9/60 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.G. Pollard. Subject- Loan of items in his Collection to VMFA and his service as Vice-President. Exhibitions: American Contemporary Prints and Sport and Horse. Melcher Estate, accessions and acquisitions, list of gifts to VMFA. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Scott, Horner and Mason, Inc. Investment Securities in Lynchburg, VA. Subject- possible investments by VMFA, financing the new wing and the possibility of matching a Public Works Administration grant. Dates- 5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Seay collection of Decorative Objects, list of objects in Seay home. Dates- 1/39 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and letters to and from Leslie Cheek. Dates- 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Service reports on traveling exhibits. Dates- 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about slide loans. Dates- 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum Services. Correspondence regarding loans 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Houdon statue of Washington on loan to VMFA, insurance valuation. Seymour's lecture on \"Houdon in America\" and panel discussion on contemporary sculpture. Opinions on dating and provenance of VMFA objects. Dates- 5/50 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Shalett's articles on the VMFA for the \"Saturday Evening Post\" and \"The Diplomat\" Dates- 8/56 - 10/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, letters of invitation to VMFA events, College Drama Festival. Melchers Estate: \"The Last Supper\", newspaper clippings and postcards. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Virginia Film Society, Dance Tour, VMT: job descriptions, Table of Organization, staff hours, Theatre Associates and Annual Theatre Train. Date- 4/66 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Agenda and events for Entertainment Committee, loan of Col. Anderson bequest items. Dates- 1/59 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and E. Shiflet (Sec. of Education). Subject- budget, museum business, financial profile, role of office of Education and pamphlets. Executive Order #20 and #21: Reassignment of VMFA to the Office of Education. Dates- 8/72 - 12/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dealer in antique English silver and his gift to VMFA of a silver teapot. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT, juror search, biographical data, exhibition catalogues, loans of art work, accessions, gifts and general museum business. Dates- 1956 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- General correspondence, exhibitions, requests for publications, pamphlets, invitations, exhibition catalogues, A.D. and W.C. Williams Trust Fund. Photographs. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- paperwork authorizing R.A.Velz and W.J. Rhodes to sign vouchers and checks, list of Virginia Museum Theatre expenditures 1956-7. Dates- 2/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Blank stationary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- excerpts from Virginia Architecture exhibition catalogue, miscellaneous correspondence about catalogue,  etc. Dates- 11/58-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- compliments on exhibition \"Architecture in Virginia\", thank you notes to the Museum about exchange/gift publications of exhibition catalogue-Architecture in Virginia 1776-1958: The Old Dominion's Twelve Best Buildings, etc. Dates- 9/58-4/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- biographical information on various 20th century architects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- G. Smith (architect, writer and photographer), biographical data, and his collection of Travel Posters. Newspaper and magazine clippings, invitations. Application for Fulbright grant. Dates- 2/52 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Her membership on Executive Board, donation and contributions. Dates- 5/51 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Marrow Stuart Smith, Virginia artist, correspondence with museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of alumnae in Virginia. Dates- 9/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Christison, and Mrs. J.A. Pope (International Traveling Exhibition Service). Subject- Exhibition: \"Swedish Textiles Today\": catalogue, pamphlet. Brussels World's Fair, U.S. Pavilion. Catalogue of Traveling Exhibitions for 1961-62. Dates- 4/53 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- S.A.H Directors meeting in Richmond, formation and organization of a Virginia chapter: agendas, lists of prospective members, directors of S.A.H., minutes from S.A.H. meeting. Dates- 12/52 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Meeting agendas, Architects Virginia Tour, preservation of the National Capitol, Shirley Plantation, landmarks in danger. Proposal to coordinate the activities of the SAH with AIA and the National Trust for Historic Preservation in the field of Historic Buildings Preservation. SAH: Minutes of Executive Board, 10/26/57, 5/17/58, 10/18/58, Treasurers Report, 1/58-4/58, Newsletters. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lists: Fellows, Staff and Board of Trustees. Invoices, receipts and newspaper clippings. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Dinner schedule, agenda and pamphlet. Dates- 5/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Confirmation for Dinner event and agenda. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fall meeting to be held at VMFA, conference agenda, mailing list and pamphlets. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Meeting agendas, events schedules, attendance rosters, officers, newsletters, registration forms. Report of SEMC '72 meeting, \"SEMC Notes\", no. 1, 1974 and no.1, 1975. Dates- 1972 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- printed material for exhibition \"Southern Exposures\", the following essays: \"Coming of Age of Photography\", \"Down the First Century of Photography with George and Heutis Cook\", \"Concerning the Cook Collection and Its Recovery of the Epos of the Attic\", etc.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Williamsburg International Assembly Speakers, biographical data: Edward Downes, Charles Seymor, Harris Prior and Arthur Drexler. Dates- 1951 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Gaines. Subject- Biographical data of speakers: C.V. Donovan and Joseph Curtis Sloane. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- printed material for the opening for prospective members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safari Theatre Dinners, loan exhibition previews, maintenance. Dates- 1967 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Essay- \"The Art Museum As A Community Center\", by L. Cheek. Pamphlets, newspaper and magazine clippings of other museum programs. Date- 1961 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- early interest and planning of the exhibition \"Sport and the Horse\", etc. Dates- 5/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Frederick Robinson (Dir., SMFA). Subject- SMFA exhibition of Virginia Artists. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions, security, general operations and museum business. Employee policy, regulations, salaries, etc. Dates- 1962 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General Museum operation, exhibitions, publicity evaluation, landscaping of Confederate Chapel, loan exhibition previews. Dates- 1963 - 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Employee policy/regulations, programs division, collection divisions, staff information and table of organization for Theatre Arts Committee. Newspaper clippings and salaries. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Suggested structure of staff organization and salary scales. Dates- 2/54 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA By-Laws 1958 and 1959, income sources, proposed improved operations plan. Salary information from the Smithsonian Institution. Job description for Assistant Administrator. Date 1959 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Head of Collections Division and Education Supervisor, Program Division. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Business meeting and reception regarding architectural improvements, gifts and loans to the State Department reception rooms. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- reception for General Assembly Wives. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Service reports for loans of exhibits, films and slides. Dates- 1951-1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for information regarding circulating visual materials 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member requests for exhibitions 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member requests for exhibitions 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member Requests for gallery visits and lectures 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Out of state inquiries about Museum services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Out of state inquiries about Museum services 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of prospective organizations for using extension services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for circulating visual materials and exhibitions 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General Correspondence Traveling Exhibitions 1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains statement for addenda to the Governor's report concerning the VMFA.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Saul Steinberg. Subject- exhibition of Steinberg's work and lecture by Steinberg, etc. Dates- 8/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening of new auditorium, purchase of pianos and price lists. Program for the Chamber Music Society, newsletters from Steinway and Co. , 4/55-6/55. Dates- 4/55 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Philip N. Stern, Chairman of the Art Commission, Commonwealth of Virginia. Subject- Art Commission meetings, funds for museum equipment, funding from the Public Works Administration, architectural exhibition, etc. Dates- 7/35-10/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Steuben correspondence with the VMFA, 1938-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Ten Talents In the American Theatre\", Ed. David Stevens; \"Theatre For Art's Sake\" by L. Cheek. Proposal to the Rockefeller Foundation for financial support of VMT. Dates- 12/49 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Her gift of \"La Signora in Biege\", Lazzaro Donati. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, preliminary design program for South Wing Addition, letters to other museums regarding design, security and general building functions. Dates- 1948-49, 1962-63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Jas. N. Trevillian (Secretary). Subject- Conductor of the New York Philharmonic Orchestra, concert at the VMFA and program. Dates- 1947 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA and Gordon E. Strause, 1935-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Strause and various Museum staff. Subject- exhibition of his collection at the Museum, written complaints by Mr. Strause, Strause is named 1st honorary benefactor of the Museum by the Board of Trustees. Dates- 3/36-5/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J. G. Pollard, T. Colt and L. Cheek. Subject- Lewis S. Strauss, founder of the Albert Einstein Award (for achievement in Natural Sciences). Chairman of the Atomic Energy Commission, his service on the VMFA Finance and Membership committees. Letter of Henry Anderson regarding discussion with Paul Mellon and VMFA expansion potential. Newspaper and magazines clippings, Artmobile, gifts and contributions. Dates- 1945 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Fellows: theatre Orientation, general meetings, prospective Fellows, report of the Fellows 5/3/67. Date- 1965-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- As a Trustee and member of the development committee. Contributions. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Mr. William A. Stuart. Subject- Trustee/Museum business, etc. Dates- 7/51-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Julia Sully to the Museum. Subject- Virginia Art Index. Dates- 1935-48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and J. McGee (Sunrise, Pres.). Subject- \"Sunrise\", Charleston Cultural complex, budget analysis, roster of Executive Board, Annual Report, 1971, pamphlets. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt and L. Cheek. Subject- Early correspondence concerning museum services, statement of purpose, Pratt Bequest, exhibitions and requests for publications. Dates- 7/45 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General correspondence, request for publications, employment, Fellows, Russian Loan Bill, gifts, contributions, biographical data. Dates- 6/56 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Museum business, loans of art works, list of objects for long term loan, zoning ordinance. Paul Tishman Collection, Troubs Collection of Russian miniatures. Provenance of St. John the Baptist, Rodin. Pamphlets, brochures and press releases. Dates- 2/70 - 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. J.G. Pollard, M. Christison, John Canaday and Maurice Bonds. Subject- Informal discussion series on art, artists and technique. Topics: Lithography, sculpture, restoration, art history etc. Includes biographical data on lecturers and exhibitions. Excerpt from \"American Silversmiths and Their Marks II\", by Stephen G.C. Ensko. Dates- 9/48 - 3/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding Mrs. A.I. duPont's gift of tapestries to the VMFA and a subsequent exhibition, 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding taxes on honorariums, admissions and rental space, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA series of weekly TV programs, list of suggested topics, program guests, resource information from other Institutions, film rentals, television presentation of the 25th Anniversary and minutes of the Mayor's Committee on Educational Television, 11/11/53. Dates- 3/54 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- The development of a public television station to be shared by educational institutions. TV question and answer scripts and newspaper clippings. Dates- 1/49 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings. Dates- 1961-62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Salary scales, job openings at VMT, applicants, referrals, biographical data, financial statements, staff tors and guest speakers. Dates- 3/58 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Thalhimer. Subject- Biographical data, production, general theatre administration and Ford Foundation Fellowship Grant. Dates- 5/58 - 7/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Basil Langton. Subject- Langton's service as VMT guest director of \"The Tempest\", in celebration of the Jamestown Festival; program and procurement of professional actors. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Thalhimer Jr. Subject- Exhibit: \"Habiliments for Heroines\" underwritten by Thalhimers, VMT: \"Lady in the Dark\", Lorren Aldrich Collection. Catalogue: \"The Helena Rubenstein, Princess Gourelli Collection\", Deluca, Editore Roma, June 1953. Dates- 11/51 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as a Trustee and Chair of the Theatre Arts Committee on theatre and Television, museum business, salary scales, general operation of VMT, budget, income, newspaper clippings. Contributions and gifts. Dates- 6/52 - 3/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Underwriting of Mediterranean court, plants and flowers. Gift of Sandwich glass. Dates- 5/55 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Thayer's service as special assistant to the Secretary of State for Cultural Affairs. Biographical data, UNESCO, ICOM, International traveling Exhibitions, placement of American works of art in United States Embassies. Dates- 5/59 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committee Minutes 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committee minutes, agendas and programs, box office grosses etc. Letter from Paul Mellon. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Establishment of a theatre Collection by Louise Branch of drawings, scenery and costumes. Dates- 2/59 - 3/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Thalhimer. Subject- Proposal for costume ball. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Morale and general organization of the VMT Associates, proposed speakers, newsletter and roster of VMT Associates. Dates- 4/57 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and William Morrison. Subject- taped readings by Henry Fonda, Lee Remick and Olivia deHavilland on the anniversary celebration. Reviews and letters to other film stars. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safari-Dinner agenda and setup. Dates- 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reviews, gift of Dan River Mills fabrics for costumes. Programs: \"Streetcar Named Desire\", \"School For Wives\", \"Camelot\" and \"The Odd Couple\". Dates- 1967 - 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- reviews, letters of compliment. Program: \"the Royal Hunt of the Sun\" Dates- 1968 -69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and staff hours. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Report of Acoustical Analysis for Auditorium of Virginia Museum Theatre\" Dates- 9/1950 and 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Review, performance production. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Theatre-designer: salary and letters of recommendation. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMT, Dance, Film and Chamber Music Societies: financial statements, salaries, budgets, production costs, income records, purchase of stage equipment and suggested future of organization. Dates- 2/54 - 12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- bus tours from Virginia towns for Theatre evenings, sponsors by Virginia Federation of Women's Clubs, newspaper clippings. \"The Virginia Club Woman\", vol. XXXII no. I 8/55. Dates- 1/59 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chairman of Yale Drama Dept., his service as consultant to VMT, budget suggestions for proposed VMT, various drama activities, playbill, budgets from other University Drama departments. Dates- 1/56 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program, letters of disagreement between directors and actors. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The first annual event, critic and counselors: Virginia Freeman, Meriam Rosen, Dan Wagoner, Patricia Wityle. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Valerie Gettis as guest speaker/artist. Dates- 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Invitations to college Presidents. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Alan Schnieder, Speaker: Jo Mielziner. The 1st College Drama Festival, guest lists and exhibition of Jo Mielziner's theatre designs. Newsletter. Dates- 8/56 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Harold Clurman, Speaker: Norris Houghton. Events schedule and program. Dates- 4/57 - 2/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Norris Houghton, Speaker: John Gassner. Event agenda/program, brochures. Dates- 4/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Henry Hewes, Speaker: Marc Connelly, reception, production procedure, etc. Newsletter 2/60 Dates- 10/59 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Stella Adler and Speaker: Alfred de Ligre, Jr. Event schedule, festival speaker, program, biographical data, reviews. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Event agenda, scheduling, program and newspaper clippings. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Robert Lewis, Speaker: Edward Albee. Event agenda/program, brochure, pamphlet, etc. Dates- 10/56 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Original drama by John C. Collison, VMT Premiere. \"New Play in Virginia\", Wm. Morrison, Encore vol.6 ,no.5 Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and L. Cheek. Subject- Reorganization of Museum Theatre 1972-73, budget and summary of proposals. Additions to VMFA statutes and By-Laws. Theatre Committee annual Report 6/30/67. Dates- 5/67 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contributions, minutes of Theatre Patron Campaign Committee. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- theatre Arts Committee Executive Meeting minutes 6/30/70 and 7/6/70, Rosters for various Executive committee's of VMFA. Reviews and pamphlets. Dates- 9/69 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- HEW grant to produce and circulate throughout Virginia a play during 67-68 season, suggested dramas. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions: \"Gibson Collection of Contemporary Italian Art\", \"Contemporary Japanese Art\", \"Ten Reynolds Sculptures\". Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, A.H. Ballet and Robert Telford. Subject- General VMT business, schedule of events, scenic design, reviews, performance, staff policy/procedure, ticket prices, season subscriptions, etc. Dates- 1955 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- College Drama Festival, Dance Society and Chamber Music Society. Performance programs, events schedules, guest director contract, pamphlets and contributions. Dates- 1959 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- General Theatre Business, contractual agreements, events schedules, Richmond Film Society, College Drama Festival, financial statements, theatre reviews and job applicants. Dates- 5/61 - 9/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- theatre openings, job descriptions, applicants, hours. Dates- 12/62 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT, Vignettes tour, general estimate of costs, Drama, Dance and Music programs.  \"Virginia Report For State Arts Agency Individual Projects July 1, 1966- June 30,1967\" and \"Performing Arts in Virginia Education\" an introductory survey. Dates- 1966 -68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Budgets, financial summary, events schedules, newsletters, etc. Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Season events, programming, budget and revenue, newsletters, list of season subscribers and press kit for the Mummers Theatre, Oklahoma City, Oklahoma. \"Constitution of the Virginia Museum Theatre Associates\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Theatre business, budgets, salaries, production schedules, invitations, program design, contracts, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters to and from VMT subscribers, program for \"Purlie\". Proposals for summer season productions, opening night telegrams. Dates- 1974 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Operating expense appropriation, \"VMT Sound System Report\", and synopsis of No Title play of the life of Lord Byron by Romulus Linney (later titled \"Childe Byron\"). Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Reviews. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Keith Fowler. Subject- Reviews, production calendar and letters of compliments. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Event underwritten by the Weeden Foundation. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of invitation, remarks after preview. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Programs. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Payment for use of two geese. Program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Financial report and program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Program, reviews, letters of complaint from theatre patrons regarding play content. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program, search for guest director. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Review, program and editorials. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Letters of complaint and approval from theatre patrons. Dates- 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List of series underwriters, proposal for music lecture series conducted by Dr. John White. Dates- 10/58 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Patron financial support and proposal for a Sunday lecture series: \" The Eager Listener\". Dates- 9/59 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Harpist: Nicanor Zableta, brochures of concert series sponsored by other museums and galleries. Dates- 1/50 - 1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program Dates- 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Morton Thalhimer. Subject- General letters to theatre subscribers, brief outline of the five scheduled plays and descriptions of the major characters. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Playbills, magazine and newspaper clippings of performances in theatres other than VMT. Dates- 12/54 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews and programs for \"Separate Tables\", \"The Skin Of Your Teeth\", \"Ondine\", \"Kiss Me Kate\" and \"The Kids\". Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Rehearsal schedules, invitations, programs: \"Life With Mother\", \"The Limbo Kid\", \"Pygmalian\" and \"The Brothers Karamazov\". Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews, letter/telegrams of compliment. Programs: \"Teahouse of the August Moon\", \"The Woman from Colchis\", \"Hall of Mirrors\", \"Caesar and Cleopatra\" and \"The Most Happy Fella\". Dates- 1962 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reviews, letters and telegrams of compliment. Program: \"A Thousand Clowns\". Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Robert Telford. Subject- Reviews, letters/telegrams of compliment. Programs: \"The Admiral Crichton\", \"Hedda Gabler\". \"Tartuffe\" and \"No Time For Sergeants\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews, letters/telegrams of compliment. Programs: \"The Comedy of Errors\", \"The Visit\" and \"Fanny\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters/telegrams of compliment. Programs: \"Androcles and The Lion\", \"The Miracle Worker\". Contributions from Dan River Mills. Photographs. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Reviews, letters/telegrams of compliment, opening night gala, Safari Theatre/Dinners. Programs: \"The Glass Menagerie\", \"Once In A Lifetime\", \"Julius Caesar\", \"Blithe Spirit\" and \"Three Penny Opera\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Reviews and Letters/telegrams of compliment. Programs: \"Charley's Aunt\", \"The Sorrows of Frederick The Great\", \"Uncle Vanya\", \"Twelfth Night, On What You Will\" and \"the Man Who Lost the River\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Timetable, production schedules, Safari theatre Dinners, programs and reviews. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters to former subscribers seeking financial assistance for the upcoming season. Photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letter/telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- VMFA By- Laws 1972, Minutes of Theatre Arts Committee 10/21/71, agendas, budget and cost estimates. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Programming, policy for relations to the VMFA, contractual agreements, events schedules, promotion plans and financial statements, programs and brochures. Executive board meetings: 7/57, 11/57, 2/58, 4/58, 5/58. Dates- 4/56 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters and contributions from Chamber Music Society Patrons. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for the formation of the Dance Society, guest list, officers, policy regarding the Dance Society's relationship to the VMFA. Minutes of Executive Board, 5/11/56, 6/12/57, 7/57, 12/57. Receipt and attendance records, contributions, programs, pamphlets and guest performers. Dates- 5/56 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters and contributions from patrons of Dance Society. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Rockefeller grant to the museum to develop theatre and a program in drama, 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Kay Rockefeller. Subject- Traveling exhibition troupe for children's theatre: financial statement and invitations. Dates- 9/57 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program for \"Rossum's Universal Robots\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT designated seating area according to race, and letters of protest in support of Dr. Mary Elizabeth Johnson. Dates- 1/56 - 5/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letters/telegrams of compliment. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Robert Telford and Morton Thalhimer. Subject- Attendance records, publicity program and biographical data. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters and telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cost estimate, theatre needs and improvements. Date- 12/56 - 7/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sample survey, list of Chapter/Affiliate communities. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Morton Thalhimer and Robert Telford. Subject- Theatre Arts Committee agenda, VMT proposals for: director, administrator, production and apprentices. Date- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"The Gallows Man\", limited performance schedule, invitations. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Events program, list of composers represented. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cancelled, considered distasteful for VMT audience. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letters, telegrams of compliment. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- AAMD conference, theft of Roualt drawing from Toronto Gallery, requests for publications. Dates- 5/50 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains reports concerning slide sets and film strips distributed throughout the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fashion designer to lecture on fashion from 1752 to 1952 for the exhibition: \"Habiliments for Heroines\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- New York World's Fair, newspaper and magazine clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His election to VMFA Board, museum business. Dates- 5/51 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings of Governor Tuck. Dates- 12/49 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, Tunnard's expertise on city planning. Virginia Town Case Study Group: \"Problems of Planning in the Small Southern Town\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Severance of affiliation to the VMFA. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artist for VMFA Christmas card. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt and Wm. Gaines. Subject- Seminar to expose students and teachers to the function and operation of VMFA, agenda, program procedure, etc. Dates- 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Questionnaire from UCLA Graduate School of Management and the College of Fine Arts on the priorities related to the Arts, pamphlets. \"U.S. Information Agency-Its Task in World Affairs\". Date- 4/51 - 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Annual Meeting Minutes, travel authorization, organization news, pamphlets, general UNESCO business. Dates- 10/46 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Conference topic: Aid to South American Museums, project development, UNESCO Annual Report, Report of Program Committee. The Voice of America, Forum Lectures with transcript of by L. Cheek of \"The Art Museum As A Community Center\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for loans of slides from South American Museums for L. Cheek's presentation to Denver conference, list of South American Museums. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening of UDC new building. Resolution concerning accessibility to members of UDC, invitations. Dates- 6/57 - 12/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence, reports, minutes. Expansion of local service. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Charitable organizations that have received UGF monies and fund raising campaign. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The Air Force Memorial Center: statement of purpose, design, personnel requirements, building program, Minutes of U.S. Air Force Fine Art Committee 6/58 and 12/60, \"Proposal For The USAF Memorial Education Center\", travel vouchers and floor plan for the Academy Museum (Planetarium). Slides. Dates- 2/57-4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Edward R. Murrow as Director, merging of the People-to People Program (organization of museum professional) with the USIA. Newspaper clippings. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Forum Series\": International Broadcast, lecture series. Essay- \"the Art Museum As A Community Center\" by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- UNESCO Action to safeguard Nubian monuments due to the construction of the Aswan Dam. Roster of Honorary Committee, International Action Committee, United Arab Committee, Executive Board Minutes. Dates- 4/60 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Virginia State Employees U.S. Savings Bond campaign, handbook for canvassers, meeting agendas and progress reports. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Col. H.W. Fitzroy. Subject- Coordinating agency between institutions and other cultural, educational and scientific agencies in Virginia through a lecture series of visiting scholars. Dates- 9/54 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Bayly Art Museum and the McIntire School of Fine Arts at the University of Virginia. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Lecturers and AIV contributors, loans of objects, fellowships. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and T. Colt. Subject- UVA Museum loan of objects and lecture tours, fellowships. List of prints on loan to VMFA from Catesby estate and list of Lurcat Tapestries. Dates- 8/47 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Museum business, Artmobile, VMT, requests for loans, contributions and gifts. Reference to photos of ancient Greek sculpture, architecture and landscape views, invitations, pamphlets and postcards. Dates- 10/58 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains the schedules for staff vacations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Hans van Weeren-Griek, curator of Education at the VMFA. Dates- 1940-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Report regarding vandalism and misconduct: soaping of the fountains and damage to shrubs. Dates- 11/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Velz' service as VMFA Head of promotion, civilian and military experience record, newspaper clippings and Melchers Estate. Dates- 1949 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains general correspondence of Velz, Associate Director of VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Status of tax deduction, recommendations for event, invitations and dance card. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 9the Annual Viennese Ball sponsored by the Council: Ball Committee, agenda, decoration, invitations, etc. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- Virginia Art Alliance By-Laws, program and minutes of VAA meeting 1945, Report of the Trustees of Richmond Academy of Arts 1933, correspondence with other members of VAA, etc. Dates- 1933-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- program for annual meeting 1941, blank ballots labeled \"Board of Trustees Ballots\", statement of need for a state Supervisor of Fine Arts Education. Dates- 4/40-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- reports of activities of organization members 1942-3, correspondence with organization members-no annual meeting held this year due to World War II, etc. Dates- 3/43-5/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcement, agenda and program for annual meeting 1944, correspondence with organization members, election of officers/trustees, etc. Dates- 3/44-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting minutes ('49), listing and certification of delegates to VAA annual convention ('49), listing of the VAA Board of Trustees ('49), etc. Dates- 1948-49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes from meetings and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Miss Helen C. Rose (Virginia Art Alliance President). Subject- correspondence with member organizations, etc. Dates- 3/58-8/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- minutes of Trustees meeting and annual meeting 1959, roster of officers and Trustees, program for annual meeting 1960, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of Va. Art Alliance). Subject- announcement, replies agenda and program for annual meeting of (1936) the VAA Trustees, listing of organizational members to VAA, certification forms for delegates to the VAA annual convention (1936), etc. Dates- 5/35-5/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension VMFA, Secretary of VA. Art Alliance). Subject- announcements, program and report for VAA annual meeting 1937, resolution changing the organization of the VAA (consolidating its function with that of the VMFA), certification of delegates to VAA annual meeting 1937, etc. Dates- 4/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept., Secretary of VA, Art Alliance). Subject- VAA annual meeting announcement and program (1938), certification for delegates to VAA annual convention 1938, correspondence with member organizations about the reorganization of the VAA (consolidating its function with that of the VMFA), etc. Dates- 2/38-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance). Subject- announcements and program for VAA annual meeting 1939, certification of delegates to the VAA annual convention 1939, letter from Gayle to the State Board of Education supporting the appointment of a state supervisor of art, etc. Dates- 3/39-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1940, correspondence with member organizations, nomination of trustees, certification of delegates to annual convention 1940, etc. Dates- 3/39-5/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1941, report of the VAA 1940-1, listing of organization members, By-Laws of VAA 1934, correspondence with trustees, etc. Dates- 3/41-4/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- program for annual meeting 1942, roster of member organizations, reports from member organizations, Annual Report of the VAA 1941-2, listing of VAA lectures in 1941, Museum Bulletin (VMFA) vol.2, no.6, 1942etc. Dates- 3/42-4/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcements, program and minutes for annual meeting 1944, reports of member organizations 1944, certification of delegates to annual convention 1944, listing of Board resolutions during war time, roster of member organizations, etc. Dates- 4/44-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA Art Alliance). Subject- announcements, program and minutes for annual meeting 1945, roster of trustees and nominating committee, reports of member organizations, certification of delegates to annual convention 1945, etc. Dates- 3/45-2/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945, announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945,announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting program ('46 and'47) and minutes ('46), list of members ('47), certification of delegates to annual VAA convention ('47), Reports of art activities around the state, etc. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance)and M.B. Christison (Curator of Education). Subject- copies of 1947 resolution about art display areas in public buildings, minutes of annual meeting 1947, announcements and program for annual meeting 1948, roster of member organizations 1948, correspondence about securing guest speakers for VAA annual convention 1948, certification of delegates to annual convention 1949, etc. Dates- 7/45-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- membership roster ('48), list of trustees ('48), announcement, minutes and attendance to annual meeting ('48), summary of panel discussion about art education in Va. schools, statement of VAA purposes and objectives, etc. Dates- 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- minutes of the Virginia Art Alliance meeting ('47 and'48), Board meeting announcement and attendance, program of annual meeting ('48), list of suggested nominees to the VAA Board ('48), etc. Dates- 1947-8.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- annual reports of activities made by VAA members. Dates- 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual meeting 1955. Correspondence, resolutions and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence, minutes and agendas. Form letter announcing annual meeting 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes, agenda and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcement and minutes of Fall Meeting 1957, correspondence with member organizations, etc. Dates- 11/57-12/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Meeting held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1957, appointments to nominating committee, minutes of the Trustees meeting 1957, roster of organization members, The Annual Review of the Virginia Art Alliance 5/39,etc. Dates- 2/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and tentative reservation list for annual meeting 1958, etc. Dates- 9/58-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1958, reports of member organizations, Virginia Art Alliance By-Laws, proposed revisions to By-Laws, VAA procedures, appointments to committees and to board, etc. Dates- 1/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes from annual meeting 1959, member organization reports, roster of VA. Art Alliance officers and trustees, VAA By-Laws, etc. Dates- 5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison Assistant Director VMFA). Subject- announcement and schedule for annual meeting 1959, blank reservation forms for school artmobile visits, etc. Dates- 10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and program for annual meeting 1960, listing of nominating committee appointments, roster of officers and trustees, listing of delegates to annual meeting, etc. Dates- 3/60-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- reports from member organizations, etc. Dates- 1956-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of organizational members and their attendance, correspondence and form letters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of trustees and list of members 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of trustees' meeting 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of Trustees, 1952-55. Correspondence, minutes. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee correspondence, minutes and members. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard Subject- preliminary work for the VAA booklet: \"Facilities for Organization Members Comprising the Virginia Art Alliance\". Dates- 8/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Secretary Virginia Art Alliance). Subject- minutes of Virginia Art Alliance (VAA) annual meeting 1957, proposed revisions to By-Laws, etc. Dates- 8/56-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- outline of a state art federation, constitutions, by-laws, information on other art federations (i.e.: The American Federation of Art, The Kansas State Federation of Art, The Indiana Federation of Art Clubs, etc.), etc. Dates- 1/34. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Va. Art Alliance procedures and a short history, draft of proposed revisions to VAA By-Laws, Annual Review of the Virginia Art Alliance. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA/ Secretary of the VA Art Alliance). Subject- VAA By-Laws 1934, resolution (1936) to consolidate the functions of the VMFA and VAA, information about the development of a new type of VMFA annual membership- the organization membership, etc. Dates- 1934-10/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- listing of Trustees 1934- 39, Trustee meeting announcements, letters accepting election to the VAA Board of Trustees, etc. Dates- 11/34-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA representative on the Virginia Art Commission. Dates- 11/55 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- selecting and securing jurors for the exhibition \"Virginia Artists 1955\", listing of pieces and artist included in the exhibition, printed material for the exhibition, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Paul Smith, Rose Slivka and Frank Getlein. Salon des Refuse's, biographical data, exhibition catalog. Dates- 6/66 - 6/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Prospective jurors and exhibition announcement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Jurors: Thomas Hess. Exhibition statement, reception, guest list, members preview, program agenda, discontinuation of salon des refuse's, installation and exhibition catalog. Dates- 1967, 11/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding auditor's reports. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Audit Reports 1936-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Auditors Survey and Systems study of the VMFA. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Morrison. Subject- Filming of \"California Watercolors\" traveling exhibition with footage of Virginia Beach Sidewalk Show included in the 25th anniversary film. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospectus for the Virginia Center For the Performing Arts. Statement of purpose: Academy-Conservatoire of Dramatic Art with training center and professional theatre. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding objects and paintings in private collections throughout state of Virginia. Correspondence with artists and owners. 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Statement of mission, NEA grants, proposals, awards, potential applicants, recipients. Collectors' Circle: Arts and Humanities Challenge grants for Conservation projects. Degas exhibition. Dates- 2/74 - 6/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VCU and U of R Drama departments. VMFA/VCU Museum Methods Course. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Current/future cooperation between VCU and VMFA: theatre, Art Historical studies, education, museum training, music dept.'s, VCU Conservation Lab and Anderson Gallery. Dates- 1/73 - 2/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Paul Smith. Reception, guest list, program, agenda and exhibition catalog. Dates- 3/71 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Juror: Henry Wolf. Event program, invitations, guest list, statistics regarding entrants, certificate winners, etc. Exhibition catalogs for \"Virginia Designers\", 1970 and 1971; \"Virginia Photographers\", 1970 Date- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding state budget 1946-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VEA Centennial Event and retired teachers complex, theatre program and Executive Committee Minutes, 12/61. Dates- 10/63 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Retired teachers apartment complex proposed for the 2900 block of Grove Ave., later rejected by the City Council, newspaper clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Exhibition: \"American Rooms in Miniature\", sponsored by Va. Federation of Women's Clubs, sponsorship of statewide tour of Artmobile, newspaper clippings and pamphlets, \"Virginia Journal of Education\", 10/63, catalog of \"American Rooms in Miniature\" by Mrs. J.W. Thorne, Art Institute of Chicago, 1941. Dates- 6/53 - 2/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Virginia Federation of Women's Clubs Statewide Arts Festival. Dates- 5/67 - 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Thank you notes from newly elected/reelected members of the House of Delegates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. John. S. Battle. Dates- 1949-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. Colgate W. Darden. Dates- 1942-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. George C. Peery. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Bills vetoed and passed by Gov. Thomas B. Stanley [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. William M. Tuck. Dates-1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Multi-level Arts Festival held annually in Abingdon, Va., loans of art works, consultation on programming and pamphlets. Dates- 11/52 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, F. Numan (Wm. and Mary) Subject- Meeting to focus on Architecture and the Humanities. Dates- 11/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Catalog from Franklin Mint series of silver commemorative medals. Norton Simon summary of Annual report, 1970. Dates- 1970 -71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. J.G. Pollard was chairman of this agency; copies of: Fundamentals of a Growing Recreation Program by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agendas and minutes of meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns a Governor's commission to study juvenile delinquency and the Virginia Advisory Legislative Council. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report to the Committee on \"Recreation as a Function of Government in Virginia.\"   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- copies of the executive order creating the Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- planning a listing of recreation films available through state agencies and 16mm Recreation Films Available in Virginia published by the VA Inter-Agency Committee on Recreation, etc. Dates- 6/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- working papers and final copies of the \"1st Report to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 10/53-1/54; Correspondence Subject- copies of the \"First Report to the Governor by the Inter-Agency Committee on Recreation\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Selected legislation on recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership rosters for the VA Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- statewide recreation reports listing facilities, budgets, organizations and needs, pamphlets from the National Recreation Association, etc. Dates- 7/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sponsored by the National Recreation Association 1955-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains a listing of personnel and the purpose of the committee.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and pamphlets.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets, magazine articles etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of \"Fundamentals of a Growing Recreation Program\" by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- working papers for and final copies of the \"1st and 2nd Reports to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 11/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Sarah Tomerlin Lee, Biographical data, event program, pamphlets and catalog for exhibition. Dates- 9/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum events, rosters: Senate, House of Delegates. Letter to members of the general assembly. Essay- \"The Virginia Museum and the Arts in Virginia\". Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reception for organization composed of Mayors, City Managers and City Officials. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Faye Ambrose and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year. Dates- 5/56-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Charles E. Baker and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications and award letters (1950, 1951) for VMFA in-state fellowship, artist progress reports for 2 years, etc. Dates- 5/50-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Regina Bartley and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 4/51-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Wm. Thomas Bland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA fellowship, thank you notes made by Mr. Bland (mixed media including watercolors). Dates- 8/48-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Robert Brushwood and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations, award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Kuhn R. Caldwell and Mrs. J.G. Pollard, M.B. Christison (Assistant Director), and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, artist progress reports for 1 year . Dates- 12/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mary Frances Cheatham and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA junior fellowship, artist progress reports for 1 year. Dates- 1/49-3/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Janet Clausen and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Robert L. Davis and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA in-state fellowship, photos of artist's work, artist progress reports for 1 year, etc. Dates- 4/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Worden Day and Mrs. J.G. Pollard, M.B. Christison and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, etc. Dates-4/49-8/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. T.V. Downing, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 10/49-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Charles Flynn, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 4/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 2/54-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- award letter for VMFA in-state fellowship, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Barbara Harding and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications ('53 and '54), recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Catherine M. Hipp and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Jem W. Hom and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/56-7/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between W.B. Houghland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Caroline C. Huff and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. William W. Jackson and Mrs. J.G. Pollard and L. Cheek Jr. Subject- applications (1948,1949), recommendations and award letter for VMFA fellowship, etc. Dates- 5/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Knapp and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. James Leedy and Mrs. J.G. Pollard and M.B. Christison (Assistant Director). Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/57-6/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Brenda R. MacBaisey and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year (includes lithography proofs), etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. James P. Moyers and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Joe Ravenscroft and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, application and recommendations for VMFA fellowship, etc. Dates- 8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, recommendations for VMFA fellowship, etc. Dates-8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.F. Russell and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for out-of-state fellowship, artist progress report for 1 year, etc. Dates- 4/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between R.E. Spain and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Mary R. Tatum and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1year, etc. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Primm Turner and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress report for 1 year, application for Catherwood Foundation fellowship, etc. Dates- 3/56-9/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. E. Parker Twombly and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA out-of-state fellowship, recommendation letters written by: Ben Shahn and Robert Motherwell, artist progress report for 1 year, etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress report for 1 year, etc. Dates- 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Howard Woody and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for student fellowship, etc. Dates- 4/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Peter Wreden and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, etc. Dates- 4/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of fellowship applicants, requests for applications, rejection letters, etc. Dates- 3/49-6/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications, recommendations and rejection letters for those applicants not chosen to receive fellowships. Dates- 3/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship, fellowship announcement, minutes of the fellowship committee meeting (1954), etc. Dates- 12/40-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- listing of applicants 1942-44, listing of types of fellowships offered by the Museum, etc. Dates- 1942-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- various applications, recommendations, rejection letters, etc. Dates- 5/46-6/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- announcements of fellowships, blank fellowship applications, requests for applications, various completed applications, award and rejection letters for fellowships, artist reply letters, etc. Dates-4/46-12/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- various applications, recommendations, fellowship recipient progress reports, award and rejection letters, correspondence with Fellowship committee, etc. Dates- 4/47-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject-the organization of the Fellowship committee, requests for fellowship applications, etc. Dates- 9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. John L. Pratt. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship program, minutes of: annual board meeting (1941), executive committee meeting (1940), VA artists fellowship committee meeting (1940), announcement/application for VMFA fellowship, etc. Dates- 6/40-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence about the Museum. Dates- 1939-46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition- \"The Virginia Museum of Fine Arts in Roanoke\", 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Essays by Director Thomas Colt on the Principles and Work of the Virginia Museum of Fine arts and its history.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Timetable, agenda, invitation, guest list. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Henry Callahan, biographical data, entry form, letters to selected applicants, statistics: entrants vs. applicants etc., and jury procedure. Dates- 4/71-2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellowships, VPI Traveling Theatre. Letter to Josef Albers with biographical data, invitations and exhibitions. Dates- 3/59 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains pamphlets and correspondence between this association and Mrs. Pollard's Inter-agency committee on recreation 1949-54; Reports and Inventories of recreational activities of state agencies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- VMFA budget, state issue vehicles, Artmobile, salaries, Robinson House, etc. Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Complimentary memberships to members of the house of delegates, travel regulations, United Givers Fund campaign, management studies. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VSAA membership rosters, membership of confidential secretaries to directors of state agencies. Dates- 9/63 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- Memos to heads of state agencies regarding all manner of state operations, capital outlays. Annual Report of \"Virginia Department of Vocational Rehabilitation\", 1976. Dates- 1/73 - 10/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- Affirmative Action and Freedom of Information Act requests. \"Virginia Local and Regional Planning 1974\"; \"Virginia Commission Visually Handicapped Annual Report\", 1973-74; \"Virginia Highway Commission Annual Report\", 1973-74. Dates- 11/74 - 12/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- State governmental management, budget appropriation requests, Virginia calendar of events, newsletters, museum salaries and the Virginia Privacy Act of 1976. Dates- 4/75 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regards donating old exhibition materials 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Roster of VMFA Trustees, resume of progress in the Fine Arts of Virginia. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and E.M. Kates (VSIF). Subject- Planting of flower beds and maintenance of interior foliage, Elizabeth Kates Foundation. Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cleaning and treatment reports of portraits owned by the Virginia State Library and Archives. Also correspondence regarding the wartime protection of Virginia's cultural materials, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- outline of annual meeting. Dates- 11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- \"Planning Your Town\" traveling exhibition, photos and description of exhibition installation, copy of an essay written by Cheek for Art Digest (4/52) Dates- 2/52-10/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VA Union choir singing at the Museum during the Christmas season, pamphlets about Museum sponsored activities during the holidays, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statewide competition for the design of Memorial and jury selection. L. Cheek's service as advisor to the Memorial Commission. T.J. Collins and Son as winners of competition. \"Program Of Competition For The Virginia World War II Memorial\". Dates- 12/50 - 3/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Program Of Competition For The Virginia World War II Memorial\", firms invited to compete in the final selection, expenses incurred and resumes of applicants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, John J. Wicker Jr. (Chairman). Subject- Competition program, VWW II Memorial Commission meeting minutes, \"Preamble\", for the creation of the memorial, \"Architectural Competitions\", AIA Document no.213. Drawings/plans and photographs for site development. Dates- 5/50 - 12/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 1953 Official Report of the Virginia World War II Memorial Commission. Dates- 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Competition program and closing proceedings. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Applications from selected entrants, official report of the jury in their selection of J.T. Collins and Son, (A.I.A.). Dates- 3/51 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report of the Jury concerning the winning design. Jury members: Waldon Franklin, George Howe, Frederick C. Disque, Edward D. Stone, W. S. Robertson, biographical data included and list of competition entrants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Guest lecturers, membership. Dates- 12/63 - 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. von Keller. Subject- appointment of von Keller as Acting Director of VMFA in absence of Colt, biographical information, etc. Dates- 4/35-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. von Keller (Art Director, Randolph-Macon Woman's College). Subject- personal, Museum events, etc. Dates- 8/42-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Vose. Subject- Acquisitions and provenance of objects. Dates- 7/56 - 2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt. Priscilla Crum and L. Cheek. Subject- Segregation in children's art classes, Study of early 19th century architect and builder John Jordan. WRVA Radio weekly series of VMFA activities, Salon des Refuses' for artists eliminated from the Virginia Artists juried exhibition. World War II Memorial design competition, Artmobile, newspaper clippings, paintings from the Williams Collection and the Helena Woolworth McCann Collection of Export Collection. Exhibition catalog: \"Eugene Wiesz\". Photographs. Dates- 9/45 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Artmobile, AIV, sit-see chairs, collectors circle, Fellows, Wise Pre-Columbian Collection, requests for employment. Woodrow Wilson Birthplace Foundation: Annual Report 10/64. Gifts, loans, contributions and acquisitions. Dates- 3/60 -11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Exhibition announcements, invitations, newsletters, biographical data, requests for employment. Purchases, gifts and acquisitions. Damage report of art works. \"Profile\", re: Tishman Collection of African Objects. \"Hermes Wingraf Quarterly Catalog\", Summer 1971, re: 17th century Dutch still-lifes. Dates- 2/70 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Waddy bequest for fountain construction. Costs of construction and maintenance of fountains: National Gallery, Frick Collection and Isabella Stewart Gardner Museum, includes photographs. Blueprints/plans: VMFA Site Development, East Elevations. Excerpt from the will of Woodson P. Waddy. Dates- 1947, 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Bronze Waddy Memorial Fountains, architects: Eggers and Higgins, Sculptor: Ralph Menconi. Contractual agreement with architects, Blueprints/ plans, detail drawings for : Waddy Memorial Fountain, Triton Fountain, East elevation and site development plans. Dates- 8/53 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Mr. Clifford L. Walker. Subject- inscribed plates for paintings in Museum collection, bronze busts and tablets for founders. Dates- 11/35-8/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Walpole Society Dinner, membership roster and newspaper clippings. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA staff orders for conduct of Museum during an emergency, pamphlets from the U.S. Government, Association of Art Museum Directors and American and British museums about art preservation in case of a wartime emergency. Dates- 1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Warburg Collection on loan to VMFA and his address to collector's circle. Bulletin vol.18 no.9 5/58 Dates- 5/57 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT scenery design. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets from the U.S. Government, Association of Art Directors and American and British museums about art preservation in case of a wartime emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- prospective sale of George Washington portrait by Peale to the state of Virginia, history of the painting, may have been commissioned by the state in 1784 for use by Houdin (the sculptor of the George Washington statue in the capital). Dates- 10/37-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Marion Junkin. Subject- Metropolitan Collection on permanent loan to W\u0026L, letter from M. Junkin espousing the talents/commitments of the young artist Cy Twombly. Hans Gasman as restorer for VMFA lists of objects and exhibitions. Dates- 11/49 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Alexander W. Weddell. Subject- Weddell's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, gifts from Weddell, listing of Trustees 1942, listing of Trustees committee assignments 1945. Dates- 9/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and Mrs. J.G. Pollard. Subject- Founding member of VMFA, resolution from Executive Board in memoriam of Alexander Wilbourne and Virginia Chase Weddell. Award of the Webster S. Rhoads Medal for distinguished service. Minutes of Annual Meeting, descent and authenticity of a pair of copies of portraits of George Mason and his wife. Dates- 7/45 - 1/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Foundation financial support: VMT, library, contributions to Fellows fund, book purchases, VMFA services catalog. Dates- 7/66 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Director of Gallery of Modern Art, NYC, and his service as a juror. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Time\" article on George Catlin, artist of the American West. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Mellon. Subject- Ultimate destination of Mellon English Collection. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Tour request. Dates- 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Mrs. J. H. Parsons. Subject- Wheelchairs adapted for sit-see chairs and underwritten by Mrs. Parsons. Dates- 10/65 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture/recital to VMFA council and Fellows. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitation to L. Cheek by President Johnson to attend luncheon for President-elect Barrentos of Bolivia. Dates- 7/20/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Objects on loan to White House. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Theo B. White. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Diorama's made by Whitelaw in the collection of the L.A. County Museum and George Washington Masonic National Memorial Association. Photographs Dates- 7/62 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- general correspondence with a Trustee on Museum programs and operating activities (esp. Accessions Committee). Dates- 6/35-3/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Beatrice von Keller, T. Colt and L. Cheek. Subject- Organization of an exhibition of pre-Columbian sculpture, Catesby-Jones collection, Whitman Collection of Mayan Sculpture, Chrysler Collection accessions and exhibitions. Date- 8/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. Thelma Cudlipp Whitman. Subject- Trustee/Museum business, etc. Dates- 5/51-2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Ambassador to Great Britain, invitation to become Collector-of-the- Year. Dates- 5/61 - 7/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and various Whitney Museum staff. Subject- loans to the Museum for the inaugural exhibition, loan to the Whitney from VMFA, museum practices, etc. Dates- 5/35-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Summer state service projects, VMFA projects list. Dates- 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Playwright, invitation to address VMT, Time Cover 11/12/53. Dates- 1/53 - 3/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA appointment to Board of Trustees, service as President and on the Entertainment Committee. Museum business, South Wing, Fellows, NEFTA. Gift of Mellon French painting collection, gifts, contributions. Dates- 6/65 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions: \"Jean Outland Chrysler Collection\" and \"30 Years of Virginia Art\". List of objects, Charter Day ceremonies: invitation list and dedication of the new Fine Arts building. Essays- \"Thomas Jefferson and the Fine Arts\" and \"The Arts in Virginia\", by L. Cheek 2/67. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT and loans of objects to VMFA. Dates- 1/50 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. J.G. Pollard. Subject- Williams Collection inventory, Williams purchase fund, statement concerning the informal agreement between L. Cheek and Mrs. A. D. Williams concerning installation of collection in the new wing. Selected inventory of furnishings in the Williams home. A.D. Williams as recipient of the Rhoads Medal, financial contributions, gifts and loans. Dates- 6/48 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Berkley Williams Jr., Virginia artist. Dates- 1936-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., and Mr. E. Rand Williams. Subject- Trustee/Museum business, Rand served as Buildings and Grounds Committee Chairman 1937-8 and as first Vice-President in 1941, etc. Dates- 6/35-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. E. Randolph Williams. Subject- Trustee/ Museum business, etc. Dates- 5/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Glasglow bequest, Melchers Estate, Pratt Jewels, Portrait of \"James Patton Preston\", Gilbert Stuart, general legal questions. Dates- 10/58 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Election to board of Trustees; Dance Society. Dates- 6/54 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Advisory committee on the new Reception Center, L. Cheek as a member and a map with the proposed location. \"Summary of Reception Center Objectives and Experience\". Dates- 11/53-1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List of objects accepted as loans and pending gift status. Dates- 10/49 - 3/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Preliminary plans for a foundation to house objects related to W. Wilson's life. Portrait exhibition of the 8 Virginia born Presidents, portrait of Mrs. Wilson, artist unknown. \"Woodrow Wilson's Heritage of Faith\", Frank Bell Lewis, Woodrow Wilson Birthplace Foundation, 1956. Dates- 9/55 - 6/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of request and approval for event, agendas and timetable. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letter of confirmation. Dates- 7/11 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Woodlawn Plantation event, guest list and map. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. to Worcester Art Museum staff. Subject- loans for VMFA inaugural exhibition, loan to Worcester Art Museum, etc. Dates-8/35-7/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- exhibition held at the Museum \"Southern States Preview\" a regional exhibition connected to the World's Fair. Dates-10/38-12/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by applicants to exhibition. Subject- listings of artists accepted to the show (listed state by state). Dates- 12/38-1/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Arthur Drexler (MOMA) to lecture on Wright exhibition, reception, guest list. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Transcript of radio broadcast 2/26/54, exhibition: \"American Painting\", Artmobile and magazine excerpt. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Betsy Wyeth and Harry Brooks (Knoedlers). Subject- \"Country\": Working drawings, Artmobile layout and tour and reviews. Dates- 2/67 - 11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Exhibitions, loans, acquisitions, AIV, gifts, contributions. Correspondence with William Zorach, sculptor. Dates- 9/49 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- museum practices, loans for the VMFA inaugural exhibition, etc. Dates-9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General correspondence from Alumni, possible lecturers, newspaper clippings. Correspondence between Cheek and Alfred Stiegletz. Minutes of Alumni and Friends of the School of Art and Architecture, 5/58, pamphlets. Dates- 6/58 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Third Report Of The Committee On Architecture, Painting and Sculpture\", 4/50. Committee membership roster, issues facing various Yale departments. \"Bulletin Of Yale University\", series 44, 4/48 #5 and \"Official Register Of Harvard University\", vol. XLV, no.15 7/15/48. Dates- 1949 - 50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. Pollard and M. Christison. Subject- Yale school of the arts general operation, appointment of Joseph Albers, list of University Council Committees. Dates- 9/48 - 9/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Draft of the committee report and responses from other Yale committee members regarding departmental personnel, curriculum, problems and resolutions. \"Report Of The Committee Of The Division Of The Arts (Architecture and Planning And Design)\",prepared by L. Cheek, 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Report Of The Chairman Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 4/48, prepared by L. Cheek. Issues concerning Yale departments of the arts. Minutes of Yale Executive Committee Meetings, various reports on Yale departments. Dates- 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cheek draft of, \"Report Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 1952. Yale policy review, new appointments, letters to other committee members, roster of membership. Dates- 5/51 - 4/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Evolving challenges of the various Yale departments. \"Report Of The Committee On The Division Of The Arts (Architecture, Planning and Design)\", 4/53. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA performance of Yale Glee Club, agenda, program, roster, etc. Dates- 10/60 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","R. Peter Mooz was Director of the museum from 1976-1981.","Charles L. Reed was Interim Director of the museum from 1981-1984.","Paul N. Perrot was Director of the museum from 1984-1991.","Katherine R. Lee was Director of the museum from 1991-2000.","Richard B. Woodward was Interim Director of the museum in 2000.","Michael Brand was Director of the museum from 2000-2005.","Thomas N. Allen was Interim Director of the museum in 2006.","This series contains correspondence and subject files from staff members in the Director's Office.","Carolyn Weekley was the Assistant to the Director from 1978-1979. She later became Curator of Decorative Arts, so there is some overlap in the files with her curatorial work.","Margaret (Peggy) Burke was Assistant to the Director from 1980-1981, then Deputy Director in 1982, Deputy Director. She originally served as Assistant Director for Collections and Interpretation, so there is some overlap in the files with her other work.","Lulan Yu was Assistant to the Director from 2002-2007. Her files are mostly related to the North Wing expansion and the museum identity project.","Lee Anne Hurt Chesterfield was Assistant to the Director from 2004-2009, then became Director of Board Relations and Museum Planning. Her files are mostly related to special projects, exhibitions, and AAM reaccreditation.","This series consists of building files that were maintained separately in the Director's Office. There are often additional building files found in each Director's Correspondence files.","The West Wing was completed in 1985.","The North Wing expansion was completed in 2010.","This series consists of corespondence with internal and external groups, the affiliations or creations of which often often overlap different Directors.","This series consists of minutes and planning documents for meetings convened by the Director.","This series consists of program files that were maintained separately in the Director's Office. There are often additional program and exhibition files found in each Director's Correspondence files.","Medal awarded to Walter Spencer Robertson housed separately.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","Virginia Museum of Fine Arts Archives","English \n.    "],"unitid_tesim":["RG-01","/repositories/2/resources/44"],"normalized_title_ssm":["Director's Correspondence (RG-01)"],"collection_title_tesim":["Director's Correspondence (RG-01)"],"collection_ssim":["Director's Correspondence (RG-01)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["248.5 Linear Feet 204 boxes; 7,156 folders"],"extent_tesim":["248.5 Linear Feet 204 boxes; 7,156 folders"],"date_range_isim":[1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance. \u003c/p\u003e\n","\u003cp\u003eAs custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809).\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance. ","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809)."],"altformavail_html_tesm":["\u003cp\u003e\"Museum in Action\" was reformatted and is available on YouTube: \u003ca href=\"https://www.youtube.com/watch?v=03tQlnoFx0A\u0026amp;t=1s\"\u003ehttps://www.youtube.com/watch?v=03tQlnoFx0A\u0026amp;t=1s\u003c/a\u003e\u003c/p\u003e"],"altformavail_heading_ssm":["Existence and Location of Copies"],"altformavail_tesim":["\"Museum in Action\" was reformatted and is available on YouTube:  https://www.youtube.com/watch?v=03tQlnoFx0A\u0026t=1s"],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series, and items are generally arranged alphabetically within series 1-2. Series 3-6 are generally arranged chronologically.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eDirector's Correspondence, 1927-2006\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eDirector's Office Staff, 1977-2008\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eBuilding Files, 1979-2004\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eOrganization Files, 1991-2006\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMeeting Files, 1998-2009\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eProgram Files, 1992-2007\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series, and items are generally arranged alphabetically within series 1-2. Series 3-6 are generally arranged chronologically.","Series 1 Director's Correspondence, 1927-2006 Series 2 Director's Office Staff, 1977-2008 Series 3 Building Files, 1979-2004 Series 4 Organization Files, 1991-2006 Series 5 Meeting Files, 1998-2009 Series 6 Program Files, 1992-2007"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Director's Office through periodic deposits since 1989. The bulk of the Early Director's Correspondence (Series 1.1) was deposited at to the Library of Virginia in 1982, where it remained until November 2022 when it was returned to VMFA.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Director's Office through periodic deposits since 1989. The bulk of the Early Director's Correspondence (Series 1.1) was deposited at to the Library of Virginia in 1982, where it remained until November 2022 when it was returned to VMFA."],"originalsloc_html_tesm":["\u003cp\u003eBetween June 17-September 10, 2023, the Fellowship Application and associated photograph of Wigfall were placed in the exhibition \"Benjamin Wigfall \u0026amp; Communications Village.\"\u003c/p\u003e","\u003cp\u003eBetween June 17-September 10, 2023, the recommendation letter from Leo Katz was placed in the exhibition \"Benjamin Wigfall \u0026amp; Communications Village.\"\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals","Existence and Location of Originals"],"originalsloc_tesim":["Between June 17-September 10, 2023, the Fellowship Application and associated photograph of Wigfall were placed in the exhibition \"Benjamin Wigfall \u0026 Communications Village.\"","Between June 17-September 10, 2023, the recommendation letter from Leo Katz was placed in the exhibition \"Benjamin Wigfall \u0026 Communications Village.\""],"prefercite_html_tesm":["\u003cp\u003eDirector's Correspondence (RG-01). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Director's Correspondence (RG-01). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e","\u003cp\u003eSeries 1.1 was processed by State Records Archivist Laura Drake Davis from 2006-2008 while it was still deposited at the Library of Virginia. In 2023, Senior Archivist Courtney Tkacz integrated VMFA's holdings into that series and in the process, RG-01 Boxes 1-4 and LVA 33863 Boxes 60, 67, 74, and 89 were removed.  \u003c/p\u003e","\u003cp\u003eSelect application materials were digitized with the identifier: RG01.01.1.33863.001\u003c/p\u003e","\u003cp\u003eSelect application materials were digitized with the identifier: RG01.01.1.33863.007\u003c/p\u003e","\u003cp\u003eSelect application materials were digitized with the identifier: RG01.01.1.33863.008\u003c/p\u003e","\u003cp\u003eSelect application materials were digitized with the identifier: RG01.01.1.33863.009\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information","Processing Information","Processing Information","Processing Information","Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","Series 1.1 was processed by State Records Archivist Laura Drake Davis from 2006-2008 while it was still deposited at the Library of Virginia. In 2023, Senior Archivist Courtney Tkacz integrated VMFA's holdings into that series and in the process, RG-01 Boxes 1-4 and LVA 33863 Boxes 60, 67, 74, and 89 were removed.  ","Select application materials were digitized with the identifier: RG01.01.1.33863.001","Select application materials were digitized with the identifier: RG01.01.1.33863.007","Select application materials were digitized with the identifier: RG01.01.1.33863.008","Select application materials were digitized with the identifier: RG01.01.1.33863.009"],"scopecontent_html_tesm":["\u003cp\u003eThis series is comprised of correspondence of all of the various Directors of the museum. Files were arranged alphabetically by subject, and there is a lot of overlap between different Director's as the files often contained pertinent items from a predecessor. In the case of the first sub-series (1.1), until 1976, the entire museum's files were maintained centrally as one unit in the Director's Office.\u003c/p\u003e","\u003cp\u003eThis series includes the records of the first three Directors - Thomas C. Colt (1935-1948), Leslie Cheek, Jr. (1948-1968), and James M. Brown (1969-1976) - as well as the two Interim Co-Directors Beatrice von Keller and Violet McDougall Pollard (1942-1945). The bulk of this series was deposited at the Library of Virginia, therefore most of the items held at VMFA are copies that LVA returned to the museum.\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with individuals, institutions and corporations beginning with the letter 'A', note- two letters written to Josef Albers (no replies). Dates- 2/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding a copy of Gainsborough's \"Blue Boy\" in the collection of Van Clief of Esmont, Virginia.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters from private donors and dealers offering objects for sale and as gifts to the Museum when it was first started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence, minutes and information about gifts and purchases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information about items being considered for purchase and members of the committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence, minutes, and information on bequests and purchases. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- minutes of accessions committee meeting 1972, announcements and attendance for meetings 1973, acquisitions policy for bidding on works of art at auction, etc. Dates- 9/72-1/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- painted decorations of St. James church, putting this church on the Virginia section of the National Register. Dates- 4/68-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- departmental inventories of non-expandable assets of the Commonwealth of VA 1940-3, worksheets on individual art objects and Museum equipment, state regulations, etc. Dates- 6/43-11/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown and P. Near (Curator). Subject- correspondence about possible acquisitions, considerations of gifts, notes on possible acquisitions, etc., 10/70-4/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding the gift of Mrs. Charles Adams (Ann Fowlkes) of music albums 1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek's appointment by the Governor to an advisory committee assisting the Dept. of Conservation and Economic Development in a study for a proposed museum of science, archaeology and natural history (to be located in Richmond), copy of Senate joint resolution no.26-to study the encouragement or establishment of a museum of science and natural history, list of committee members, Report of the Department of Conservation and Economic Development to the Governor and the General Assembly of Virginia Relative to the Establishment of a Museum of Science, Archaeology and Natural History in Richmond, 1965, etc. Dates- 5/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Excerpt from the Report of the Committee on Recreation to the Advisory Council on the VA Economy and A Summary of Major Recommendations that Involve Questions of State Policy by the Advisory Council on the VA Economy. Dates- 8/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- possible Museum acquisitions from the dealer. Dates- 4/53-5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Airfiltering System 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- correspondence and announcement for lecture by Ambassador Akar about Africa's unique cultural heritage, etc. Dates- 10/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cheek was a judge for their annual show. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence with Albemarle Art Association President about discontinued affiliation with VMFA, biographical information on Cheek, introduction about Cheek for lecture at AAA, Cheek's remarks in honor of Horace Burr 1966, etc. Dates- 8/57-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with and biographical information about Josef Albers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- a letter to Albers (no reply). Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown Subject- correspondence with Director about appointment to board of Hon. George S. Aldhizer II, Education in the Arts and Honors and Awards Committee appointments, etc. Dates- 6/67-2/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Donor of several paintings to the Museum, 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek as speaker for \"The Alexandria Forum: Southern Decorative Arts 1750-1850\", exhibition loans to Alexandria Assoc., etc. Dates- 9/55-1/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Printed materials. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence regarding annual meetings and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- AAM (American Association of Museums)annual meeting pamphlets 1955,'57,'58,'59'60,'61,'62,'65 and'68, proposed constitution and By-Laws 1961, roster of member institutions 1959, correspondence about AAM meeting in Williamsburg, etc. Dates- 10/60-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from AAM Directors. Subject- Minutes annual meeting 1969, membership reports 1969-70, Financial Statements 1969-70, agenda for AAM council meeting 1970, memos, etc. Dates- 8/69-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- info about AAM (American Association of Museums) seminar held in Richmond 1972, financial and membership reports 1972, minutes of exec. committee meeting 1972, news releases, letter from Richard Nixon to Mr. Brown as President of the AAM, mailings sent out by AAM, etc. Dates- 7/72-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about Cheek as Program Chairman for AAM (American Association of Museums) annual meeting in Williamsburg 1962, tentative agenda, schedule of events, attendance list, committee reports, program, etc. Dates- 5/59-1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- correspondence to American Art Association (AAM) section chairmen about annual meeting, program, schedule of events, etc. Dates- 9/60-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about arranging program for American Association of Museums (AAM) meeting, roster of section chairmen 1962, agenda for exec. committee meeting 1961, invitations sent to VMFA trustees for a reception (held at VMFA) to meet the delegates to AAM meeting, etc. Dates- 7/59-6/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- roster of AAM (American Association of Museums) section chairmen 1962, attendance and schedule for section meetings, etc. Dates- 1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lloyd Goodrich Lecturer. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek on advisory committee for the study of design and craftsmanship in today's products, roster of advisory committee, proposed exhibition, conference series, documentary and publication about design and craftsmanship, National Exhibition Project Committee meeting minutes 1950, etc. Dates- 3/49-4/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cheek on Board of organization. Contains memos, pamphlets, exhibition literature etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns L. Cheek's membership in the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- minutes of exec. committee meetings 1961, '62 and '65, roster of trustees, memos to trustees, correspondence about convention in Chicago, etc. Dates- 1/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. (trustee of AFA). Subject- information about circulating exhibitions, minutes of Exec. committee meetings 1966 and '67, minutes of trustee meetings 1966, '67 and '68, memos to trustees, etc. Dates- 1/60-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- American Federation of Arts (AFA) exec. committee meeting minutes 1967 and '68, correspondence about AFA delegates visit to VMFA 1969, roster of members and committee appointments, news releases 1968, President's annual report to AFA, etc. Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about Cheek as Convention Committee Chairman 1959, correspondence about potential committee members, program for convention, minutes of preliminary joint meeting of the AFA trustees 1958, minutes of trustees meeting 1959, Golden Anniversary Convention, The American Federation of Arts 1909-1959, congratulatory and appreciation letters to Cheek, etc. Dates- 3/58-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown Subject- AFA (American Federation of Arts) exec. committee meeting minutes 1959,'60,'61,'62 and'65, roster of board of trustees, trustee meeting minutes 1961 and '62, AFA constitution, National Council on the Arts and Government Annual Report 1960, etc. Dates- 3/61-1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence with the American Institute of Architects. Dates- 4/47-1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cheek served as a juror for the Annual Homefurnishings Design Competition and was an honorary member, 1949-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- A.I.D. (American Institute of Designers) VA chapter yearbook 1961-2, listing of suggested museums for A.I.D. exhibition, etc. Dates-5/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to J.M. Brown. Subject- dinner meeting for the AID (American Institute of Designers) (interior designers). Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Peter Mooz and Wm. Wilkinson (Mariners Museum). Subject- Loan requests, cost estimates, pamphlets and photographs. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Peter Mooz and Wm. Wilkinson\u0026gt; Subject- First major survey of American Marine Painting in observance of the Bicentennial. Lists of paintings, installation, budget, etc. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains copies of lecture invitation and catalog. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to J.M. Brown from ASA (American Society of Appraisers). Subject- Brown's membership in ASA, ASA news 1971-2, announcement of meeting 1971, etc. Dates- 10/70-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- arrangements for gallery dinner at VMFA for American Society of Appraisers. Dates- 1/72-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- Brown as Chairman of a committee on collections at Amherst College and member of Exec. Committee of the Association of Fine Arts, constitution and minutes of Association of Fine Arts meetings 1970 and '71, roster of members of the Association of Fine Arts, membership solicitation letter, catalogue: The Amherst Sesquicentennial Exhibition 1972, etc. Dates- 10/69-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mrs. J.G. Pollard and Mr. Henry W. Anderson. Subject- meetings of the Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, a portrait of Anderson by VA artist, Julian Binford, etc. Dates- 6/35-11/44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Henry W. Anderson. Subject- Anderson's presidency of the Board of Trustees 1947, trustee and Museum business, Annual Board meeting minutes 1947-8, Museum events and daily operations, Museum investments and gifts to the Museum, a general study of the Museum's collections and suggested plan of development (1947), information about the land occupied by the Museum and its estimated future needs, etc. Dates- 6/47-6/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- President of the Board of Trustees. 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and L. Cheek, Jr. and Col. Henry W. Anderson. Subject- Anderson's presidency of the VMFA Board of Trustees, Museum events and daily operations, gifts to the Museum, investment of the Museum's A.D. Williams fund, listing of financial condition of endowment and special funds 1952-3, etc. Dates- 5/51-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- arrangements for dinner honoring Mr.and Mrs. Walter P. Chrysler, guest lists, invitations, R.S.V.P.'s, etc. Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- final copies: VMFA 2nd Annual Report of the Director 7/1/36-6/15/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA 7th Annual Report of the Director 7/1/41-5/1/42 and VMFA staff orders 1/42 elaborating the orders of 6/41 conduct of the Museum during an emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers, preliminary and final copies of The Report of the Acting Directors for the Year 1944-5, agenda for Executive committee meeting 6/44, breakdown of membership 1943-4, 1944-5 and working papers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- final copy VMFA Annual Report. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- preliminary and final copies VMFA Annual Report 1946-7 7/1/47-4/30/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- preliminary and final copy: VMFA Annual Report 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for the 1948-9 Annual Report, Report of the Executive Committee of the VMFA to the Board of Trustees (5/22/49) also a listing and attendance record of the Board of Trustees (5/27/49).  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for the 14th Annual Report, including operations budget, salaries and membership count, also a copy of VMFA Organic Laws (10/36). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- The 14th Annual Report of the Director (5/27/49) and its working papers, also correspondence about VMFA role in selecting and displaying portraits in the Governor's Mansion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- working papers for the annual report, listing of Cheek's activities (lectures, consultations, committee and jury duties). Dates- 1960-1. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Annual Reports for Collections and Gallery Divisions 1951-54, and for State Extension Services 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA 1st Annual Financial Report of the Curator (4/13/35-6/15/36), VMFA 2nd Annual Report of the Director (7/1/36-6/15/37), VMFA 3rd Annual Report of the Director (7/1/37-6/1/38), VMFA 4th Annual Report of the Director (7/1/38-6/1/39), VMFA 5th Annual Report of the Director (7/1/39-5/1/40), VMFA 6th Annual Report of the Director (7/1/40-5/1/41). Dates- 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA 7th Annual Report of the Director (7/1/41-5/1/42), VMFA 8th Annual Report by the Acting Directors (7/1/42-5/31/43), also, VMFA 9th Annual Report by the Acting Directors (7/1/43-5/31/44).  Dates- 1941-1944. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- the following reports: \"Remarks by Robert Marsh, Jr. before the Appropriations Committee of the General Assembly\" and \"Resume of the Request of the Trustees of the Virginia Museum of Fine Arts before the Appropriations Committee 2/64\" Dates- 2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Annual meeting of its Richmond Chapter at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., Mrs. J.G. Pollard and Ms. B. von Keller. Subject- biographical info, purchase of his painting Maggie, letters of introduction, personal references, loaning work to Museum, Va. artists exhibitions, counsel on museum operations, etc. Dates- 10/35-10/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposed paperback guide to architecture in Virginia, roster of Editorial Advisory Board for guidebook, list of sites by counties and cities, etc., final list of buildings and sites, announcements and minutes of Nominating Committee meeting, etc. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- biographical information on H. Harvard Arnason, speaker on Henry Moore sculpture at VMFA, VMFA Members' Bulletin vol.26, no.2 10/65. Dates- 9/65-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- confirmation of meeting with State Art Commission to present plans to enlarge VMFA. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- membership roster, pamphlet of Art Dealers of America, Inc., etc. Dates- 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lectures given at the VMFA by members of the staff of the Museum of Modern Art 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about museum practices, the following publication: Let's Make the Lions Roar: A Marketing Study of the Art Institute of Chicago by Edward J. Teply (Northwestern University 1959) Dates- 6/48-1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Potential jurors for biennial exhibitions 1970. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence and a listing of members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence and art nouveau purchase plan. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Artificial flowers for decoration in galleries, 1964. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Museum program where artist-members participated in a life drawing class.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program sponsored by museum for artist members, included life drawing classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and memorandums. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence and minutes from meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Project to try and send artmobiles overseas as suggested by the State Department. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence as to whether or not they would like to have the artmobile visit their school. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains plans, blueprints, and correspondence that occurred during its development.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Manufacturer of custom van bodies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Presidential Inauguration. Artmobile was State of Virginia's entry in President Johnson's inaugural parade, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposed exhibition for the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Magic City Bank had an exhibit trailer, which was a prototype for artmobile.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitations, programs and correspondence.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Reprints of A.I.V. article \"Galleries on Wheels\", 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VFWC was instrumental in getting the artmobile started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, newspaper and magazine clippings and schedule 1961-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Schedules, Plans, correspondence and photographs, 1960-63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Drawings and plans for 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Opening, Middleburg, Virginia, 1962.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Dinner and Invitation List. Artmobile II Opening. Middleburg, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Facts sheets, invitations and photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Dedication. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- correspondence re. funding, construction, photographs, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Plans for Collegiate Artmobile to visit Virginia Colleges. 1964-65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposal to ask the Carnegie Foundation for funding for a collegiate artmobile, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Opening, Ashland, Virginia. Correspondence and programs, Sept. 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from W.S. Robertson. Subject- Meeting of Virginia college Presidents regarding the Artmobile project to service college and University campuses. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, David Pittman, Peter Mooz. Subject- Artmobile workshop: program agenda, exhibition schedules, etc. \"Artmobile Chairman Handbook\". Dates- 7/74 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Fruehauf Trailer Co., artmobile manufacturer, 1965-66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposed by Lt. Governor Mills Godwin, attempted to establish a Virginia Arts and Crafts Museum. Newspaper clippings, correspondence, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Pamphlets, prints, minutes and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Arts and Humanities Summer Institute. Sponsored by the Va. Commission of Arts and Humanities at the Museum in 1971. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Informational pamphlet from the President's advisory Council on the Arts, 1963. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Art Council of America and Governor's office. Subject- invitation from the Art Council of America to be represented in this council, etc. Dates- 10/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from George Cruger (Editor, AIV), J.M. Brown and Wm. Gaines. Subject- Microfilming of AIV and checklist of Articles to date, Spring 1974. Catalog: \"Image\", George Eastman House, 1973. Dates- 11/73 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Memos and Correspondence. Dates- 1960 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Search for a designer for the magazine. Letters to and from possible candidates. Dates- 1964.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Various issues of the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- A.P. News clips regarding Museum, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns the portrait bust of John Marshall.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- A.P.V.A. Pamphlets and Correspondence, 1972. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- agenda for the APVA (Association for the Preservation of VA. Antiquities) meeting held at VMFA, roster of exec. committee and trustees, etc. Dates- 3/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of members and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and reports from annual meeting 1964-68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- General correspondence to Directors of various museums regarding membership, loans of art works, invitations, etc.  Fact sheet on Artist housing in Soho. Dates- 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence and minutes from annual meeting 1970-71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Annual meeting: reports, minutes, events schedules, officers, membership. Code of Ethics for ilicit traffic in works of art. \"Reproductions and Reproduction Rights For Museum-Owned Objects\", 1962, American Federation of Arts. Dates- 1972, 1979 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes from meeting. Dates- 5/59 - 6/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposals for membership. L. Cheek was membership chairman. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes of meeting. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Report on dangers of lending objects to institutions for special exhibitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Questionnaires, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Dinner held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Lady Nancy Astor. Subject- Donation of her portrait by John Singer Sargent and china. Dates- 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"B\". Subject- varied. Dates- 9/50-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with institutions, individuals or corporations beginning with the letter \"B\" and the VMFA loan-own art service policy statement. Dates- 6/62-10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Transcript of remarks by Frank Stanton on his award of the Michael Friedman Medal of the Architectural league, magazine clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Ballet and L. Cheek concerning the beginning and future of a theatre at the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, A. Ballet and trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Baltimore Museum of Art calendars of events, correspondence about museum practices, etc. Dates- 9/48-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Miss Iris Barry. Subject- giving a film lecture, newspaper clipping, etc. Dates- 8/49-5/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, T.C. Colt, Jr. and L. Cheek, Jr. Subject- general information about Barter Theatre (announcements, VA Highlands Festival schedule, etc.) and correspondence about the Museum sponsoring drama productions as a state extension service. Dates- 12/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Barzansky Galleries. Subject- invitation to a Harriet Fitzgerald exhibition at the Charles Barzansky Galleries, N.Y.C. Dates- 1/58-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Governor Battle. Subject- thank you notes, etc. Dates- 11/50-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- pamphlet of the Museum's 1945-6 season. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Mrs. Bellows. Subject- the proposed acquisition of one of two of Bellows' paintings (Kids, The Teamster) which the museum didn't purchase. Dates-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Fitzgerald Bemiss as a Trustee, correspondence about Board of Trustees and Membership Committee business, gifts to VMFA, etc. Dates- 6/54-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- visit to Florence, Italy and to see Bernhard Berenson. Dates- 1/56-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition: Eugene Berman's sketches for the Metropolitan Opera's Barber of Seville. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- Brown was a chairman of the panel of judges for the Franklin Mint Bicentennial Medal competition in the state of Virginia, official rules and entry form for competition, etc. Dates- 4/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- House Bill no.131 to keep Va. interstates free of billboards, response letters from Va. politicians, etc. Dates- 2/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Mr. Paul Bird as a lecturer on contemporary painting, a transcript of the lecture, etc. Dates- 1/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek and J.M. Brown. Subject- Accessions: Chinese objects. Requests for loan of A. Wyeth paintings from Wyeth Estate, invitation to Clare Boothe Luce to address 17th Annual Va. Public Relations Conference, letter of inquiry regarding the artist Lucille Sinclair Douglas. Accessions: Dubuffet prints, period chairs, pedestals, chest, Aphrodite Torso, female draped figure, Claude Hirst painting, Roger Barr painting. Eric Christmas and Festival Theatre, Ontario, Canada, proposal around building of Bristol Chapter House, furnishing of Agecroft Hall, expansion of University curriculum to include Art Historical Studies in surrounding colleges, Hogarth exhibition, World Museum Fund with description of event and agenda.  Text from \"Country Beautiful, America's Finest Small Museums\", with description of VMFA. Accession and gifts: \"The Little School Girl\", Degas; Amphipolis Gold. Dates- 1959-70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek. Jr. Subject- By-Laws revised and adopted 1951, Organic Laws, announcements, replies, agenda and minutes of annual Board meeting 1950, committee reports, listing of Trustees, etc. Dates- 5/50-5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Col. H.W. Anderson. Subject- annual Board meeting, listing of Trustees 1952-3, announcement of annual meeting, VMFA Annual Report of the Director 1952, etc. Dates- 5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- announcement, replies, agenda and minutes of annual meeting 1953, notice of amendments to the By-Laws, a VMFA report/essay \"The Need for Completing Its Addition\", etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- annual Board meeting minutes 1953, 54, VMFA Annual Report of the Director 1954, notice of amendments to the By-Laws 1954, announcement, replies and agenda for meeting, etc. Dates- 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- minutes of Trustees annual meeting 1955, working papers for the meeting, committee reports, By-Laws revised and adopted 6/54, listing of insurance coverage, Museum events, etc. Dates- 5/55-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mid-year meeting and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- announcement of annual meeting and luncheon for the Trustees, R.S.V.P.'s, attendance list, etc. Dates- 4/56-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Index cards with names and addresses of current and former Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by VMFA staff and Board Presidents. Subject- Board of Trustees committee appointments, appointment letters and reply letters for the following years: '45/6, '46/7, '47/8, '48/9 and '49/50. Dates- 1945-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- letters of appointment to serve on Trustee committees and reply letters, listing of committee appointments 1949-50, etc. Dates- 7/49-7/50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mr. Henry W. Anderson (President of the Board). Subject- appointment to committee letters and reply letters, etc. Dates- 8/51-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence By L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of committee appointments. Dates- 1954-5. Correspondence- Subject- listing of committee appointments. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- listing of Trustees committee appointments (1956-7), reply letters to committee appointments, etc. Dates- 8/56-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- notes on planning, cost estimates, invitations, replies to preview of A.D. Williams collection and dinner honoring Governor and Mrs. Battle, etc. Dates- 10/52-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Museum events, working papers for the annual Board meetings and agendas, nominations to the Board, excerpts from the Board minutes, committee reports, etc. Dates- 2/37-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains miscellaneous correspondence, memos and minutes from meetings. 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Board annual meeting minutes 1955, By-Laws revised and adopted 1954, By-Laws and suggested revisions 1956, listing of Trustees 1955, Committee appointments 1954-57, etc. Dates- 1954-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Roster of the VMFA Board of Trustees. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- announcement, replies for Board meeting, listing of Trustees 1952, 53, notice of meeting cancellation because of inability to secure a quorum, etc. Dates- 1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- announcements, replies, agenda and minutes of Trustees special meeting and Executive Committee meeting, etc., 1/54-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- minutes of the Board of Trustees annual meetings. Dates- 1934-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- suggested plan for developing VMFA collections by Colt (1945), announcements and replies for Board annual meeting , prepared budget 1947-8, listings of Trustees, officers and committees, etc. Dates- 10/45-6/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- sightseeing boat tour on the James River. Dates- 2/57-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mrs. John H. Bocock as a Trustee, Board of Trustees, Entertainment and Accessions Committee business, art lending service information, gifts to VMFA, etc. Dates- 5/51-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek writing introduction for A. Aubrey Bodine's photography book: The Face of Virginia, draft of the foreword/introduction, biographical information on Bodine, etc. Dates- 3/62-1/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- letter to Hon. Armstead L. Boothe about appointment to Board. Dates- 6/64-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Jr. primarily with the Sheraton Hotel. Subject- a cocktail party held on Cheek's Boston trip, guest lists, invitations, etc. Dates- 10/58-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. with various Boston Museum staff. Subject- museum practices, loans, speaking engagements, exchange publications, etc. Dates- 11/47-10/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- loaning objects to VMFA, correspondence about museum practices, lecture given by Cheek in Boston about art in Virginia, etc. Dates- 3/55-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and V.Y. Bowditch. Subject- Bowditch biographical information, drama schedule 1955-6 season, evaluations, theatre operations, etc. Dates- 7/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Theatre director of Pasadena Playhouse 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. with E.G. Bowles and the Public Works Administration (PWA). Subject- landscaping the Museum and bids complying with PWA, construction contract 4/36, classifications of labor/workmen and wage rates 12/34 and Form Of Bond-VA 4/36. Dates-3/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's membership to the VMFA Board of Trustees, Museum events and daily operations, the following Museum publications: Virginia Museum of Fine Arts By-Laws, 1st Annual Financial Report of the Curator (4/13/35-6/15/36) and Virginia Museum of Fine Arts 1st Quarterly Financial Report of the Curator (5/1/36), listing of suggested prospective Trustees, listing of Trustee committee appointments 1937, sketches of Museum floor plan, etc. Dates- 12/34-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, Museum publication: Prospectus of Program Season of 1937-38, radio talk show transcript 3/38, etc. Dates- 6/37-6/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, PWA grant offer 1938 to the Museum, letter from VMFA rejecting the offer of a PWA grant, copy of the resolution that Henry P. Strause, Esq. be named first Honorary Benefactor of the Virginia Museum of Fine Arts, etc. Dates- 7/38-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Trustee committee appointments 1939-40, essays by Branch about WWII, financial situation of the Museum 1939, creation of a \"Ways and Means\" committee, etc. Dates- 8/39-6/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe Branch. Subject- Branch's presidency of the VMFA Board of Trustees, staff organization (1940), plan for VA artist fellowships, \"Art in Virginia\" an article written by Colt, Museum events and daily operations, Museum investments and gifts to the Museum, biographical information on Branch, Trustee committee appointments 1940-1, etc. Dates- 6/40-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, biographical information on Branch, Museum events and daily operations, Museum investments and gifts to the Museum, winner of the first Webster S. Rhoads medal, etc. Dates- 5/41-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Thalhimer Brothers, Inc. Subject- use of VMFA's Medieval Gallery for British Embassy reception. Dates- 6/1/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- brochures for the VA Dance Society, VA Film Society and VA Chamber Music Society. Dates- 1963-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- loaning objects to Brooklyn Museum, correspondence about museum practices, exchange publications, etc. Dates- 2/48-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- essay written by J. Carter Brown for New York University. Dates- 5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- news releases about James M. Brown becoming VMFA Director, newspaper clippings, photos of Brown, Report of the Director 1972-3, etc. Dates- 6/69-11/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by VMFA staff and Trustees. Subject- plans for receiving the new Director. Dates- 6/69-7/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Fred Haseltine (Assistant to Director). Subject- list of objects being offered to the Museum including: antique gold boxes, ornaments, clocks, etc., letters to the executors of the Ailsa Mellon Bruce estate, correspondence with Paul Mellon, news releases and news paper clippings about gift, photos of the galleries, etc. Dates- 8/70-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Mr. David K.E. Bruce as a Trustee, Board of Trustees business, gifts to VMFA, etc. Dates- 5/48-3/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposed acquisition of the Brummer collection of Medieval art, report on collection, list of objects, correspondence to Paul Mellon, etc., later sold to Duke University. Dates- 12/65-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and the Smithsonian Traveling Exhibition Service. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Exhibition 1958, includes layouts and photos, etc. Dates- 3/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek's membership on the Fine Arts Advisory Committee to U.S. Commission for the Brussels Universal and International Exhibition of 1958, committee meeting minutes 1957, committee roster, etc. Dates- 2/57-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Fair 1958, Cheek was an advisory committee member, loan, catalogue and installation lists, information on slide presentation- \"Art in American Museums\", etc. Dates- 3/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- sketches, plans of the U.S. pavilion for the Brussels International Fair 1958, information and listing of objects in the \"American Folk Art\" exhibition, etc. Dates- 1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Harry Bertoia (Sculptor). Subject- the acquisition of a Bertoia piece (Tree) shown at the Brussels Fair. Dates- 8/57-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr. Subject- D. Tennant Bryan as a Trustee, Board of Trustee and Membership Committee business, etc. Dates- 10/47-6/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. D. Tennant Bryan. Subject- Trustee/Museum business, membership to the Museum, etc. Dates- 5/51-9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. J. Stewart Bryan. Subject- Trustee/Museum business, loan of paintings for inaugural exhibition, gift to Museum, etc. Dates- 6/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Thomas P. Bryan as a Trustee, Board of Trustee business, etc. Dates- 9/58-11/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- congratulatory letter to Mr. Thomas P. Bryan on election as Mayor, Date- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. to Buchholz Gallery. Subject- proposed purchases, loans, exchange publications, etc. Dates- 4/47-8/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- VMFA budget exhibit 1959 and 1966-8, resume of the VMFA Trustees before the Appropriations Committee 1964, budget requests 1960-1 and 1962-4, etc. Dates- 9/61-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of Governor's Budget Advisory Board 1965, outline for capital outlay funds dinner, invitation letter to Trustees, etc. Dates- 5/65-6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed 25th anniversary budget, correspondence about obtaining a Budget Committee for the 25th anniversary program, anniversary publications, etc. Dates- 1/60-3/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about Capital Outlay Commission dinner and theatre, etc. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- suggested order of events for Budget Advisory Committee meeting, invitation letters to the Presidents of VMFA affiliate chapters, draft of end of dinner announcement, etc. Dates- 7/61-9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- list of Governor's Budget Advisory Committee 1969, review of Museum's request for capital outlay funds to construct North Wing and theatre, etc. Dates- 4/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- roster of Governor's Budget Advisory Board 1967, outline for Cheek's remarks to Budget Advisory Committee, etc. Dates- 1/67-5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- roster of Governor's Budget Advisory Committee members 1972-4, request for hearing, dinner invitations for Advisory Committee, etc. Dates- 5/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers and news releases about the addition to the Museum. Dates- 6/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to other U.S. art museums. Subject- installation and advice on purchasing an air conditioning system. Dates- 5/53-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Wm. Rhodes. Subject- correspondence about air condition system failure. Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- addition and renovation to the Museum, proposals and preliminary studies by Mr. Merrill Lee, Architect, copy of a Architects and Consulting Architects Contract, etc. Dates- 12/49-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard primarily with Architects M.C. Lee and Eggers and Higgins. Subject- schedule of interior installation, list of architects bills, building inspection, review work/progress, photographs of progress of additions to the Museum 1953, etc. Dates-12/48-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns the proposed addition the VMFA 1949-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Baskervill and Sons (architects and engineers) preliminary drawings, schedule for construction project, etc. Dates- 7/64-12/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Attempt by the United Daughters of the Confederacy to expand their facility on the block. The Museum's and the Virginia Historical Society's attempts to stop them and acquire the land for their own use. Dates- 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about equipment needed to supply music to members' quarters, lobby area and galleries. Dates- 7/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- information about sound equipment. Dates- 6/54-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information on purchasing folding and stackable chairs. Dates- 8/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- extending the rise of freight elevator. Dates- 8/53-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- proposals and layout for a film production unit to be located in the new wing (to make interpretative sound films). Dates- 7/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information, blueprints on changes to and installation of kitchen equipment. Dates- 6/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- the proposed purchase and installation of photographic equipment, correspondence with other art museums about creating and maintaining a darkroom and staff photographer. Dates- 8/53-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- blueprints of check room, information about coat, overshoe and umbrella racks for the Museum check room. Dates- 9/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information about seating for the theatre and auditorium, blueprints of the auditorium. Dates- 8/53-8/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of machinery and equipment needed for the new shop. Dates- 8/17/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about chandelier for front entrance of Museum. Dates- 9/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M.C. Lee, Architect. Subject- alterations and additions to the Museum, color samples and specs for painting and finishing, etc. Dates- 8/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains amounts of pledges and names of donors giving money for new galleries.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Gallery floor plans: VMFA, Brooklyn Museum, Victoria and Albert, British Museum, Art Institute of Chicago, Walters. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Merrill C. Lee, Architect. Subject- progress photographs and negatives (north wing). Dates- 5/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Architects: contractual agreements, VMFA design program, Capital Outlay Appropriation, alteration, additions, cost estimates, expenditures, contracts for Doyle and Russell and Merrill C. Lee (AIA). Dates- 12/48 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- blueprints of a darkroom and information about and catalogs of photographic equipment. Dates- 8/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns securing restricted material such as steel for post-wartime construction. 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to Mrs. J.G. Pollard. Subject- Economic Stabilization Committee (ESA) search for qualified women employees, ESA headquarters to be located in Richmond, federal government regulations that established ceiling prices for all commodities and services (except those specifically exempt) upon the basis of prices in effect between 12/19/50-1/25/51. Dates- 2/51-12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"Final Statement Museum Of Fine Arts Richmond, Virginia\", contract dated June 9th, 1952. Financial statement/contract from Doyle and Russell Construction. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Terra cotta statues at the North entrance to the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Original Building: \"Manual On The Planning And Execution Of State Capital Outlays\", 9/1/44, contracts: Doyle and Russell (Building Contractors) and Merrill C. Lee (AIA). Detail for additions and deletion from original building. Design contracts and inspection reports. Dates- 1952 - 55, 1966, 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Brochures, drawings, correspondence 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- information on red carpet and padding for the front entrance. Dates- 8/51-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Meeting with Interior designers 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding plants around the Waddy fountain. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- the Richmond Junior League's proposed campaign to raise money for construction of South wing for the Museum, working papers for and final copy of the pamphlet: \"The Virginia Museum Needs Wings\", etc. Dates-12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- renovations and construction of a new wing to the Museum, Cheek's comments on preliminary and revised drawings, and construction progress, Architects and Consulting Architects Contract (Merrill C. Lee, Architect, Eggers and Higgins, Consulting Architects), an essay \"The Virginia Museum of Fine Arts Need for Completing Its Addition\", etc. Dates- 1/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information relating to addition to Museum, several reports including: Building Program 1950-1, Addition to Building 1949-50, The Virginia Museum of Fine Arts The Need For Completing its Addition, History of Appropriation for Construction (1948-53) ,also, notes for Sen. Gray about Museum addition (1952). Dates- 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- miscellaneous daily and general building maintenance. Dates- 2/60-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Governors Stanley and Battle. Subject- improvements on Museum building and completion of new wing (1954). Dates- 12/50- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject-construction/installation of American and English galleries, alterations to Medieval hall, blueprints, etc. Dates- 7/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- information on purchase of steel lockers, blueprints, etc. Dates- 4/54-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about ordering office furniture designed by Eero Saarinen. Dates- 8/64-1/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Alfred Geiffert, landscape architect. 1949-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- analysis of situation concerning the parking lot and planting, etc. Dates- 8/66-10/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Budget Estimates for landscaping the grounds of the Museum around addition, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information and bids on purchasing lighting and steel storage equipment. Dates- 11/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- info on purchase of supplies for dining room/cafeteria: placemats, traymats, doilies, napkins, matches. Dates- 1/55-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains plans for the Waddy Fountain, and furnishing brochures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Carl Milles, donor of the Little Triton Fountain 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- marble chips for garden court fountain request for information about installation of mosaics in garden court. Dates- 8/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed purchase of wall coverings for new galleries (movable partitions and door headers). Dates- 2/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- commission to decorate behind refreshment counter in the new building, commission switches from Julien Binford to Richard Q. Yardley. Dates- 6/54-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Richard Q. Yardley Mural in the refreshment room. Also contains information on Julien Binford who was originally retained to do the mural before Yardley. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Public Works Administration Grant for Museum addition, application to National Production Authority (N.P.A.) for assistance in obtaining materials for proposed Museum construction. Dates- 10/35-9/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- staff requests for facilities and equipment, list of private funds for Museum addition, Board resolution about the construction on the building, etc. Dates- 7/48-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- drawings of proposed Museum addition, Special Building Committee procedure in dealing with Appropriations Committee of the House of Delegates, etc. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and New York City Museums: Metropolitan, Guggenheim, MOMA, and Whitney. Subject- Extended loans of paintings and sculpture for the VMFA's new wing of Contemporary Art, scheduled for Jan. 1970. Correspondence from L. Cheek to John Walker to address the Collectors Circle. Dates- 7/69 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- report on budget dinners 6/65, Cheek's itinerary for talks 1965, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and Joseph Whitehead (Interior Designer). Subject- Interiors of the New South Wing, Fabric sample enclosed. Correspondence between L. Cheek and Bernard Bothner of the Brooklyn Museum. Subject- Resources for slides to accompany the reinstallation of the Egyptian Gallery. Dates- 6/66- 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposals for gallery orientation theatre systems. Memo To VMFA staff regarding upcoming Fellows meeting. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to other museum directors. Subject- Request for slides of recent building additions to their respective museums, to prepare for a presentation to the Virginia Legislature. Dates- 4/65 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Survey conducted by L. Cheek to determine the necessity of a sprinkler system in galleries. Letters, cards of response and survey results. Dates- 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains brochures and catalogs 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- photos of preliminary architect's drawings, preliminary cost estimates, etc. Dates- 7/62-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Information concerning the MOMA 30th Anniversary, building funds drive with text of building/expansion plans, \"Toward The New Museum Of Modern Art\" , 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- review of presentations to the Art Commission, photos of other art museum additions, statements about addition (Mr. Wallace K. Harrison and Mr. Frederick D. Nichols), etc. Dates- 9/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Sculpture garden fountain and the renovation of the theatre lobby. Dates- 7/76 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Wm. Higgins. Subject- Membership drive/ New Wing opening, progress reports to members of the Board, financial statements: cost estimates, design fees, operating fund, construction timetables. Fact sheet relating to history of VMFA. Signficant dates for the Virginia Museum, \"History of North Wing Construction\". Dates- 4/71 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, D. Nicholas and C. Chamberlayne (Hardwick). Subject- Progress timetable, architectural engineering/ landscape/ interior design. Revisions/ alterations to construction, cost estimates, instructions to bidding contractors. Review by building committee of the Board of Trustees. Minutes of the building committee, 2/25/72, drawing/plans. Dates- 1971 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, D. Nichols and C. Humelsine. Subject- North Wing plans, justification and description, funding, appeal to legislature to win support for North Wing funding. Rosters: Appropriations committee, finance committee, Governor's budget advisory committee. Essay- \"The Unique, Pioneering Virginia Museum\" and \"Facts on the Virginia Museum of Fine Arts\". Dates- 1967, 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from W.S. Robertson and L. Cheek. Subject- Original design of North Wing per L. Cheek and Baskerville (AIA), later rejected by the Arts Commission. List of significant dates with regard to North and South Wing additions. Minutes of Special building Fund committee, 3/11/65, original building proposal, photographs. Bulletin vol.26, no.2 10/65. Dates- 9/65 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Photographs/Plans/Drawings from Baskerville and Son (AIA) for:entrance hall, basement/sub-basement, site plan elevations/cross section, gallery floor plans and views of entire block.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, D. Nicholas and L. Noland (building committee). Subject- Construction, architectural engineering, capital outlay, construction bids, plans and contract documents. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- blank order forms labeled VMFA NPA Regulation No. 4. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Mrs. J.G. Pollard. Subject- National Production Authority (NPA) regulations, order listings for maintenance, repair and operating (MRO) supplies, regulations about using the DO-97 rating (Form used to obtain MRO supplies), quota for the 4th quarter 1951, etc. Dates- 3/51-7/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence about construction and funding (some PWA) of a wing to the Museum, publication: Working Relationships Between Private Architects and Engineers and the Commonwealth of VA (2/44, Governors' office, Division of the Budget) and The General Conditions of the Contract for the Construction of Buildings (standard form of the American Institute of Architects). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Doyle and Russell, Building and Industrial Construction. Subject- Bronze founders tablets, frames, building inspections and taking over and operating the building 10/35. Dates- 8/35-10/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Peebles and Ferguson, Architects, Norfolk. Subject-blueprints (including detail of the Portuguese Room dated 9/18/35), maintenance and furnishings (benches, plaques, interior painting, etc.) for the Museum. Dates- 4/35- 6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Ferguson, Meakin and Moore, Architects, Norfolk. Subject- reproductions of drawings of proposed south wing, drawings, bids, etc. Dates- 10/37-5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Plans and Correspondence 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- photos of drawings showing the proposed additions and alterations to Museum. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Plans and correspondence regarding the memorial plaques around the building: R.E. Lee Camp, Waddy and the Old Dominion Foundation fountains. 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- construction/installation for the Pratt collection, blueprints, progress reports to Mr. John Lee Pratt, etc. Correspondence with Milton Samuels of French and Company who designed the installation, including quotes for fabric, carpet, cases, carpentry, lighting (including the chandelier). Cheek asked Pratt to fund it and he agreed. Lots of invoices. Dates- 6/54-5/55.   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Baskerville and Sons, Architects, 3/11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about building models, preliminary drawings, furnishing and equipment catalogues, etc. Dates- 4/65-12/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence and statements from Marcellus Wright and Son. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and Merill Lee (architect) and Chairman of the Building and grounds committee, concerning construction of the service area. Dates- 1/59 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Eggers and Higgins, Architects. Sketches and drawings 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr., J.M. Brown and Erwin H. Will (VMFA President of the Board). Subject- all aspects of construction of the South Wing, additions and alterations to Museum, landscaping, fountain, parking lot, etc. Dates- 12/66-3/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- minutes of South Wing construction conferences 1969-72, outline of construction to South Wing, etc. Dates- 1969-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Governors Dinner/Event in celebration of the South Wing: program agenda, menu, dedication plans, News Media reception, Rosters: House of Delegates, Senate, Trustees. Key presented to Governor Linwood Holton donated to the archives by Anne Holton November 3, 2022. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Capital Outlay requests, individual project descriptions, preliminary plans, tabulations of construction bids, estimated income sources, floor plans, budgets, invoices, Executive Committee Minutes and Building Committee Minutes. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Erwin Will. Subject- New duct layout for the South Wing attic space: revisions necessary due to mistakes in original drawings and improper work. Financial statements. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA Charter, Act of March 27, 1934. Design program (2/18/49) Phase II, museum enlargement, boiler replacement, contract cost estimates, committee no.279-A, addendum no.7 to the drawings and alterations to VMFA. Theatre light control system, weekly project inspections. \"General Conditions Of The Contract For Capital Outlay Projects\". Dates- 2/52 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and members of the building committee. Subject- Proposed additions, rejection of north facade by Arts Commission. Excerpts from Minutes of Art Commission Meeting, 6/4/65, 7/9/65, 7/29/66. \"The Virginia Museum Opens The New South Wing\", Press package, Brief History and Signficant Dates of VMFA, photographs. Dates- 1965 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Supplemental Agreement #2: Additions and alteration to various aspects of structural design contracts. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Interior construction and design. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment purchasing list, blueprints of theatre, installation of theatre and projection equipment and an orchestra lift, local building committee meeting minutes, etc. Dates- 7/53-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment: bronze stands and velvet ropes. Dates- 1/55-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Construction blueprints and plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letter of invitation to Trustees, former and current, to celebrate the construction of the North Wing, seating arrangement and timetable for event. Letter to Gov. Holton concerning ground breaking ceremonies and gala dinner. Dates - 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to Col. Anderson. Subject- proposal for theatre for Museum, possible recreation center for armed forces stationed in Richmond. Dates- 2/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Waddy Memorial and Triton Fountains 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- B.F. Ruskin and Associates 1953-55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- committee reports on funding for construction of addition to the Museum, schedule of payments to date (12/4/50 and 12/20/50). Dates- 10/50-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- additions and alterations to VMFA 1955, list of Museum alterations and additions to date 6/15/55 by Merrill C. Lee, Architect, VMFA Noise Survey CA 9687 (1955), blueprints, etc. Dates- 1/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains architectural plans for the first addition to the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- cost estimates/proposed funding for Museum addition, copy of the resolution to establish a Local Building Committee, announcements, replies and minutes of Local Building Committee meetings 1950-2, etc. Dates- 1/46-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Local Building Committee, 1951-54. Information regarding the local contractor. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- minutes and outlines of VMFA Building Committee meetings 1952-3. Dates- 6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, L. Cheek, Jr., and G.D. Gibson (Chairman of the VMFA Building Committee). Subject- addition to Museum building, listing of additions and alterations to the building, agenda and minutes of Building Committee meetings 1953-4, etc. Dates- 9/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- addition to Museum building, minutes, announcement and agenda for VMFA Building Committee meetings 1954-5, list of contributors to Museum Building Fund, etc. Dates- 7/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by G.D. Gibson (Trustee). Subject- installation of Museum equipment, minutes of the Buildings and Grounds Committee meetings 1955-6, etc. Dates- 9/56-12/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains lists of expenditures, list of private donors with amounts donated for the addition to the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA Local Buildings and Grounds Committee meeting minutes 1948-56, listing of committee meeting dates 1948-56. Dates- 1948-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard to Senator Garland Gray. Subject- information about planning costs for addition to Museum building, Museum business and events, etc. Dates- 5/51-7/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Copies of the Museum's members bulletin. Vol.1, No.8, Vol.7, No.'s 1,4and6, Vol.8, No.'s 5and8, Vol.9, No.'s 1,2and4, Vol.10, No.'s 1,2,7and8, Vol.11, No.'s 1,2,3,4,5,6,7and9, Vol.12, No.'s 8and9, Vol.13, No.'s 6and9, Vol.14, No.'s 1,3,6,7,8and9, Vol.15, No.'s 3,4,5,6,7,8and9, Vol.16, No.'s 1,2,3,4,5and6. Dates- 9/46-2/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Bulletins with general information and a survey of sources of income, private and public, from various museums. Dates-1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 1962-1966 Donations, Trustee File. Dates- 7/55 - 12/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and members of Board of Trustees. Subject- Revision of By-laws and Memorial Fund Policy, revisions and recommendations, minutes from sub- committee on By-laws. Dates- 1958 and 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA By-Laws (revised and adopted 5/51, 5/53, 6/54), Notice of Amendments to By-Laws (6/50, 5/53, 6/54), VMFA Organic Laws, etc.. Dates- 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to Senator Byrd. Subject- amendment of IRS code Sec. 863, exempting works of art loaned for exhibition in this country from federal estate taxes. Dates- 7/51-10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., Mrs. J.G. Pollard, and L. Cheek, Jr. to individuals, institutions and companies beginning with the letters Ca-Cn. Subject- varied, including four letters from Alexander Calder about Museum purchase of one of his pieces. Dates- 8/45-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek. Subject- Loans of artwork, Trustees, Fellows, Mary Callery (juror, 1963 Va. Artists Exhibition). Accessions and gifts: Tree, Callery; Han Dynasty pottery; Nanny, T. Sully. Dates- 2/59 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and P. Near to J. Brun and H. Jucker. Subject- Acquisition and provenance of Caligula, Newspaper clippings. Dates- 1971-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, his term as Treasurer of the Fellows. Dates- 1/60-6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mr. John Canaday (from University of VA). Subject- Christmas card design by Canaday, loan of a sculpture show, jobs, etc. Dates- 5/49-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Capital outlay requests for parking area, South Wing, Entrance Improvements, Expenditures and revenues for the year ending 6/1960. \"Instructions for Form c-54-A (individual project report)\" from Commission on State Capital Outlays and Means of Financing. General Endowment Income 1960-61; Capital Outlay for Galleries, landscaping, Egyptian gallery and North Wing, 1935-60. Collections for which there is inadequate exhibition space, list of cultures that are not represented or under-represented, roster of members serving on the \"Commission on State Capital Outlays and Means of Financing. Dates- 1960-61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eIncludes Frances Benjamin Johnston acquisition.\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- officers from the Carnegie Corporation visiting Richmond and the Museum. Dates- 8/55-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to F. Anderson (Carnegie Corporation). Subject- Experimental use of Carnegie Collection of Materials for the Instruction of American Culture and funding of Collegiate Artmobile IV. Proposal, '\" An Artmobile for Virginia Colleges\", March 1965, Supplement, A Statewide Stimulus for Education in the Humanities, Statement of purpose, photocopy of partial grant payment. Dates- 1/58-7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Carnegie Corporation of New York and Carnegie Institute, Department of Fine Arts. Subject- Frances Benjamin Johnston acquisition, requesting a grant, requesting loans for inaugural exhibition, counsel on museum practices. Dates-8/35- 12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Carnegie Trust. Subject- a visit to Richmond by officers of three British Carnegie Foundations, information on Carnegie Trust 1954, etc. Dates- 8/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Secretary of Carnegie Dunfermline Trust. Subject- Roster of Carnegie Delegation visiting VMFA; Annual Report- Carnegie Dunfermline Trustees, 1960. Dates- 7/59-60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- job of Technical Director of the Theatre Division, etc. Dates- 6/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lists of 25th Anniversary donors; VMFA presidents and terms of office 1935-60. Essay- \" The Arts In Virginia\", Walter S. Robertson (Pres. VMFA). Essay- \"Collecting In America\", Alfred Frankfurter (editor and Pres., Art News) Dates- 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of orders for and purchasers of the Healy's Sitters Catalogues, thank you notes for exchange publications, list of relatives of Judge John Barton Payne, etc. Dates- 4/51-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Jaquelin-Ambler Portrait catalogs, listing of the members of the Jaquelin, Ambler and Broadnax families. Dates- 11/48-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- a fellowship set up by the Catherwood Foundation (previous owners of the Dali jewels) to be used for travel/education in Europe, information about transporting Dali jewels from the Museum. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Fellowship for artists provided by the Catherwood Foundation and awarded and administered by the VMFA that year. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. William Gaines and L. Cheek, Jr. and M.B. Christison (Assistant Director). Subject- Gaines biographical information, Catherwood Foundation fellowship recipient, application, recommendations and award letter for fellowship, list and some photos of work submitted, etc. Dates- 3/56-11/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Annual luncheon and tour. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to Century Lighting Co. Subject- lighting for the artmobile and theatre, etc. Dates- 6/53-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- pamphlets from the Convention and Tourist Bureau (Richmond). Dates- 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- pamphlets from the Virginia Chamber of Commerce. Dates- 5/49-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Restoration of Old Botetourt Hotel, Gloucester, Va.; Programming instructions for \"Civilization\" Film Series; proposal and budget for statewide broadcast of Affiliate promotionals. Rosters of Affiliates, Chapters and Confederation Officers; Minutes of \"Executive Committee Meeting\", 10/72; maps, postcards, press release, newspaper clipping, photographs. Dates- 2/67-7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Winter Conference agenda, participants, newspaper clippings. Dates- 12/71-3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposal and budget. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Affiliate/Chapter offices Museum Lecture/Tour; roster of Officers, speaking schedule, events, remarks for each engagement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Prototype for letter to be sent from all VMFA Chapter Presidents to convince Legislature of the need for new building. Dates- 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Dali Jewels. Date- 7/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. primarily to realtors and lawyers. Subject- sale of Cheek's property \"Faraway Farms\", information on sale of Chebry Co. property, etc. Dates- 6/50-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to T.C. Colt, Jr. from L. Cheek (when he was Chairman of the Fine Arts Department at The College of William and Mary and when he was Director at the Baltimore Museum of Fine Arts). Subject- art in Virginia, counsel on museum practices, etc. Dates- 12/36-1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- The retirement of L. Cheek, Trustee dinner honoring the occasion, presentation of \"Thomas Jefferson Public Service Award\", with remarks by Lt. Gov. F.G. Pollard; South Wing construction; invitations and newspaper interview with L. Cheek. Dates- 1/65-3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, W.S. Robertson and Morton Thalhimer. Subject- Letters of moral support, press releases and newspaper clippings announcing the resignation of L. Cheek (decision later recanted). Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding L. Cheek's reconsideration of his resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Resolution from VMFA Council regarding the outstanding contributions of L. Cheek. Includes letters from and too supporters. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Replies to his reconsideration of resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Text from interview of 11/2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- PR, decorations, lecture, etc. Dates- 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Memo to VMFA staff, PR, agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Thank you letter from by a class participant.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence regarding classes at the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Registration information and class lists.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison. Subject- installation of collections and exhibitions, Museum programming, biographical information, etc. Dates- 10/54-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. Christison. Subject- scripts and working papers for children's radio program (\"Treasure Trails\" on WRVA), listing of slides for Season Survey and information on a Life magazine photo exhibition entitled \"Egypt\". Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Vouchers and receipts for travel expenses, 1948-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Christmas cards received by the Museum, a copy of the Museum Christmas card (1956), Information about a Christmas tree in the Members' suite, etc. Dates- 11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Commission of Virginia Artists to design Christmas Cards; rosters: Board of Trustees, A.A.M.D., newspaper clippings, cards, photographs. Dates- 1966-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- ordering Christmas decorations. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Peter Mooz, Sydney and Frances Lewis. Subject- Remarks by J.M. Brown on the dedication of the North Wing and on his resignation. Andrew W. Mellon Foundation, Lewis gift of funds for Art Nouveau purchases, Noland gift of \"Rotating Sphere\", reattribution of the Jewel casket. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Controversy concerning gift of Walter P. Chrysler, newspaper clippings, and Chrysler newsletters, 1973-75. Dates- 1969 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Henry Clay Hofheimer and J.M. Brown. Subject- New wing, correspondence between the Executive Board, the closing of the Chrysler Museum School, operating budget, accessions, list of objects. Minutes of Executive Board, 2/8/72. Transcript of William L. Parkers, et al complaints vs. Walter P. Chrysler Jr. et as Defendants. Dates- 1972 - 33 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Chrysler collection exhibition at the Museum and possible Artmobile tour, listing of pieces in collection, etc. Dates- 9/49-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Loan Exhibition for Church Silver of Colonial Williamsburg, outline for proposed exhibition, budget, letter drafts to Church Wardens, lists of Episcopal Churches owning Church Sliver, Format for catalogue. Dates- 7/68-4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about proposed reproduction in miniature of a Cigar Store figure from the Museum collection. Dates- 7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposed reproduction in miniature of American cigar store figures from the Museum collection. Dates- 5/56-12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek Subject- Civil War Centennial Exhibition, agenda, maps, newsletters, VMT copy of \"Certificate of Award\", conferred on the Virginia Civil War Commission. \"Virginia Joins The Confederacy, Chronology of Events November 1860 through 1861\", Civil War Centennial, 1961-1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek's membership on advisory council of the Civil War Centennial Commission, site development study for proposed Confederate Memorial Park in the Museum area, \"Report of the Preliminary Plans of the Virginia Civil War Commission to the General Assembly\" 12/59, etc. Dates- 5/59- 12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- Programming, Ticket Stubs, newspaper reviews, news releases, photographs. Dates- 7/70 - 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and Joseph Lucas (pres. Civitan Club) [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Resume of Cleveland Museum President, Sherman Emery Lee with photo, Cleveland Plain Dealer Interview \"Sherman Lee's Double Life\". Dates- 12/55-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mrs. Clopton complaint about film tickets. Dates- 2/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- membership in The Poetry Society of Virginia. Dates- 2/53-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr., to individuals, institutions and companies beginning with the letters Co-Cz. Subject- varied. Dates- 8/45-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., L. Cheek and J.M. Brown. Subject- Geri Melchers Memorial; Minutes of Annual Meeting 1962; Minutes of Executive Committee Annual Meeting 1962; restaurant feasibility. Dates- 1957-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- arranging a lecture by Mr. Alexander S. Cochran, Architect in conjunction with the exhibition \"Domestic Architecture of the San Francisco bay Region\", biographical information, etc. Dates- 10/49-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artmobile, gifts. Dates- 6/54 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from the American Association of Museums (AAM). Subject- copies of the Code of Ethics for Museum Workers 1925 AAM report. Dates- 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Remarks on \"The Relation of Trustees and Professional Staff of General Art Museums\", delivered by Charles Nagel 5/17/69,  \"Code of Ethics for Museum Workers\" 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Rhodes Rathskellar, proposals for lunchroom: use by staff, volunteer personnel, policy on break schedule and lunch periods. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from P. Near and Peter Mooz. Subject- Checklist of the status, strength, weaknesses and needs of the VMFA. Damage report, gifts of artworks and accessions, Art Purchase Fund, press releases. Letters to Christo and Robert Rauschenberg. Dates- 1976-77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains photographs, letters, newspaper clippings and information from dealers, prices regarding possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains photographs, prices and other information relating to possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and M.B. Christison (assistant Director for Collections and Education). Subject- listing of possible additions to Museum's collections 1953, information and some photos of objects considered for acquisition, correspondence with art dealers, etc. Dates- 12/51- 11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- listing of possible additions to the Museum's collections, information and some photos about objects considered for Museum acquisition, correspondence with art dealers, etc. Dates- 1/53-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, P. Near, F. Brandt and P. Mooz. Subject- Reorganization of the Collector-of-the-year. 1975- Mrs. Lummont du Pont Copeland Collection on Export Porcelain. 1977- David Lloyd Kruger Collection of Contemporary Art. 1978- Hugo Weisgall Collection, list of objects, copies of scores for the Weisgall Concert catalog. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from P. Near to members. Subject- Collectors circle event with lecture by Caroline Keck. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Cultural exchange, Minutes of Executive Committee of C.A.A., 1/62, 4/62, Minutes of Annual Meeting, 1971; Minutes of C.A.A. Business Meeting, 1/62; revised draft of \"Policies and Purposes\", roster of officers, Directors and committee members; Essay- \"The Visual Arts in Higher Education\". Dates- 1/62 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- List for reception/cocktail party, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. Preston L. Collins (Lt. Governor). Subject- announcements of Trustee meetings, invitations to Museum events, replies, etc. Dates- 5/51-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and L. Cheek, Jr. to staff of Colonial Williamsburg. Subject- museum methods. Dates- 7/46-12/54.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- general correspondence with staff of Colonial Williamsburg, information on Cheek's speaking engagement with Williamsburg Rotary Club, etc. Dates- 2/54-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and the President of Colonial Williamsburg. Subject- loan of display units to Colonial Williamsburg, museum practices, etc. Dates- 3/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., J.M. Brown and Colonial Williamsburg. Subject- correspondence about the Williamsburg Antiques Forum, publications/mailings about Antiques Forum 1964,'66,'67,'73, etc. Dates- 5/66-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- detailed letters about the goings-on at the Museum while Colt was serving in WWII, also letter from Mrs. Alfred DuPont about art education. Dates-8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Mrs. J.G. Pollard and others. Subject- record of Colt's military service, his resignation to serve in WWII. Dates- 11/42-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Columbia Records presented 55 recordings of the New York Philharmonic Orchestra to the VMFA in 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Copies of \"On Fine Arts in Modern Society: A Research Proposal Prepared for the Virginia Museum of Fine Arts by the Columbia University Bureau of Applied Social Research\". Dates- 5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about museum practices with The Columbus Gallery of Fine Arts (Columbus, OH) and Columbus Museum of Arts and Crafts, Inc. (Columbus, GA). Dates- 3/51-8/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to the Board, list of appointments, etc. Dates- 1959-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of committee appointments 1963-4, invitations to Trustee committee appointments, etc. Dates- 8/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to Board and replies, list of appointments, etc. Dates- 1958-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and W.S. Robertson (VMFA President of the Board). Subject- VMFA roster of Trustees 1964-5 and 1965-6, Board committee appointments 1965-6, invitations and responses to Trustee committee appointments, letter about Board term limitations (proposed limitation 2 successive terms of 5 years each), etc. Dates- 6/64-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek correspondence as a member of Committee for International Cultural Exchange (CICE), etc. Dates- 6/61-2/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- suggested projects for Public Relations and Development committees, proposal for the Museum by the P.R. counseling firm Earl Newsom and Co., etc.. Dates- 3/54-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from State Department of Purchases and Supply. Subject- information about choosing stationary, samples for new state letterhead. Dates- 9/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"A Report to the Virginia Museum of Fine Arts 11/19/58\" from the viewpoint of its public relations information and communications responsibilities and program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- information and memos about arrangements for community college presidents to meet at the Museum. Dates- 12/70- 1/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- cooperative arrangements between VMFA and Va. community colleges, Virginia Community College System Annual Reports 1969/70 and 1970/71, proposed programs for community colleges, etc. Dates- 10/70-8/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- complaints from Museum visitors about exhibitions, entrance fees, membership rates, guards, etc. Dates- 12/63-7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Museum operations: food service, VMT, membership, discontinuation of dinners in the galleries and newspaper clippings. Dates- 1974 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- guest list for complimentary cocktails in honor of officers and Museum volunteers from the Council, Jr. League and Theatre Affiliates, roster of Jr. League officers 1970-1, etc. Dates- 9/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Erwin H. Will (VMFA President of the Board). Subject- arrangements for a luncheon held in honor of officers and Museum volunteers from the Council, Junior League and Theatre Affiliates, guest list, suggested remarks for Mr. Will at luncheon. Dates- 9/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- miscellaneous Thank you's and compliments about gift and exchange publications, exhibitions, programs, the Museum in general and Cheek's responses. Dates- 2/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence from the public complimenting the museum in some way. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. and W.S. Robertson (President of the Board of Trustees). Subject- Complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 7/60-12/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 1/64-11/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on programs, theatre productions, museum in general and his responses. Dates- 7/66-10/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Various museum operations. Dates- 1972 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- compliments about 25th anniversary exhibitions, events and catalogue: Treasures in America, \"A Tribute to Virginia's Unique Museum\"-a Sunday newspaper supplement, etc. Dates- 1/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for VMFA European catalogue, an exchange publication. Dates- 5/66-9/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for Faberge catalogue: Russian Imperial Jewels, a VMFA exchange publication. Dates- 12/60-2/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- compliments and thank you's for gifts/exchange publications of Russian Imperial Jewels, the catalogue of the Museum's Faberge collection. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for Architecture in Virginia, a VMFA exchange publication. Dates- 2/68-5/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for William Hogarth, A Loan Exhibition of Paintings, Drawings and Prints, a VMFA exchange publication. Dates- 1/67-3/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for Painting in England 1700-1850, Collection of Mr. and Mrs. Paul Mellon, a VMFA exchange publication. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on \"Painting in England\" exhibition (Mellon Collection) and his responses. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for The World of Shakespeare, a VMFA exchange publication. Dates- 1/64-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Form letter from the President to potential members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J. G. Pollard. subject- Letters to Trustees regarding 25th anniversary fund and letters to new members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- performance at Mosque of \"The Confederacy\" as a benefit for the Artmobile, project later abandoned, Date- 11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- drawings of the site of the Confederate Memorial Chapel, landscaping plans, etc. Dates- 7/66-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Richmond Times-Dispatch article \"The Old Soldiers Faded Away Home Here is Vacant\". Dates- 1/16/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- invitation to Director of the Norfolk Museum to Confederation workshop. Dates- 5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- congratulation and reply letters on the installation of Mr. James M. Brown as VMFA Director. Dates- 6/69-6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- listing of objects from the Glasgow bequest and purchase fund currently exhibited in Museum galleries. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and Mrs. Anthony Congreve. Subject- biographical information on Arthur and Margaret Glasgow, correspondence about Glasgow fund for purchasing works of art, listings of purchases made with Glasgow Endowment Fund 1966-72. Dates- 11/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz. Subject- Physical plant restoration project: cleaning of VMFA interior and extensive improvement of motor park, project data summary, Conservation Laboratory: construction and equipment, supply expenditures, budget. Grant application: \"Proposal for Virginia Museum Conservation Laboratory\", employment contract, job descriptions, resumes of prospective applicants. Dates- 1975 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- biographical information arrangements for giving lectures/seminars at the Museum, VMFA Members' Bulletin vol.23, no.9 5/63, etc., Date- 11/50-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- arrangements for securing speakers for the \"Fireside Series\" proposed art talks held in the library, Thank you's to speakers, etc. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- loans of objects between VMFA and Corcoran Gallery of Art, correspondence about museum practices. Dates- 3/51-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Katharine Cornwell. Subject- biographical information on this actress, invitation to come to Richmond to see a show and promote TheatreVirginia. Dates- 5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- pamphlets and post cards from the Corning Glass Center. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information on obtaining assistance from philanthropic organizations and corporations, etc. Dates- 2/55-12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by E.H. Will (VMFA President of the Board). Subject- solicitation letter for corporate patrons, information on corporate patrons program, roster of Richmond corporate patrons 1970, invitations to corporate patrons gala, etc. Dates- 12/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by E.H. Will (VMFA President of the Board). Subject- solicitation of corporate patrons, pamphlets about corporate patrons program, publications for the corporate patrons gala, etc. Dates- 7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- roster of Richmond and of state corporate patrons 1971, planning for \"Fete Aux Galleries\" the corporate patrons event 1972, invitations and guest list for event, etc. Dates- 6/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- Exhibitions, condition reports, insurance, gifts and purchases. Essay- \"Successful Adult Museum Programs\", M. Christison. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and R. Velz.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator) primarily, also L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- varied. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- General correspondence regarding publications, museum practices, exhibitions, pamphlets. Letter from Alexander Calder. Dates- 7/56 - 12/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- Ford Foundation grant-in-aid program, Fogg Conservation Symposium and the Chrysler Collection. Photographs, cesolution recognizing the outstanding contribution of L. Cheek by the VMFA Council. Draft of \"Standards For Museum Practices\", SEMC, 1958. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition of American Silver, jurors for 1965 ADP exhibition, biographical data, 25th Anniversary exhibition and list of objects for loan. VMFA film series, press releases for \"The Little International\" from the Olsen Foundation and the Artmobile. Dates- 1958 -1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and VMFA Council officers. Subject- Council roster 1957-8 and 1958-9, listing of charter members, council-sponsored events and programs, lecture series schedule 1957-8 and 1959-60, statement of purpose of the Council, minutes of general meetings 1962 and'65, Executive Committee meeting minutes 1962 and '63, acknowledgments of gifts to the Museum, etc. Dates- 7/56-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown with the VMFA Council. Subject- Council gifts, Council -sponsored events and programs, preliminary drawings for Council shop office, breakdown of Council Contribution Fund 10/70 and 11/70, etc. Dates- 2/66-4/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- arrangements for corporate patrons ball, roster of Richmond and of state corporate patrons, roster of Council committee for the ball, invitations and guest lists for ball, etc. Dates- 10/70-3/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- outline of the organization of the VMFA Council, Council Program 1955-6, Council of the VMFA Charter Meeting and Articles of Association, \"Friends of the Museum Constitution\", etc. Dates- 5/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- VMFA Council Contribution Fund analysis 1971 and'72, various Council sponsored events and programs, agreement between VMFA and the Council 10/20/70, A Short History of Council Gifts to Museum 1955-71, The Council of the Virginia Museum Directory 1971-2, general correspondence between Council officers and VMFA staff, etc. Dates- 1/71-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Council Trustee Contribution Fund, conservation laboratory, library, state services, fellowships and internships. Profit and loss statements, general ledger trail balance, Art Purchase Fund, staff expenses, VMT financial statements, matching funds for NEA Grant. New Council Shop, furnishings, installation, etc. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposal to establish fellowships for professional craftsmen (resident Craftsman Program), letters from interested craftsmen, etc. Dates- 2/63-2/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator). Subject- proposal of a story about the Museum for Time-Life magazines, reference made about a reproduction of a Watteau from the Museum's collection appearing in Time. Dates- 11/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Monica Hamm and P. Mooz. Subject- Head of publications, editor of AIV and advisor for photography exhibitions. \"Focus On The Arts\", Pat Becker. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- fact sheet about VMFA, House bill no.862 was about establishing a Virginia Commission of the Arts and Humanities, transcript of the VMFA presentation by E.H. Will (VMFA President of the Board) to the Virginia Assembly, Rules Committee asking to kill or amend the bill, etc. Dates- 1/68-2/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- roster of Virginia Cultural Development Study Commission and of the State Arts Committee, information about the creation of the Va. Cultural Development Study Commission by Senate joint resolution no.67, essay- \"The Virginia Museum and the Arts in Virginia\", correspondence about meeting with the Cultural Development Commission, \"Dissenting Opinion Report of the Cultural Development Commission\" by Dr. William H. Higgins, Jr., member of the Commission, etc. Dates- 3/66-1/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"D\". Subject- varied. Dates- 3/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- VMT, exhibition schedules, Byzantine Architectural exhibition, College Drama Festival, loans of art works, Artmobile, Horace Day, NEA proposal, pamphlets, magazine excerpts, cards, biographical data, etc. Accessions and gifts: \"The Meeting of Joachim and Anna Under the Golden Gate\", A. Duer. Dates- 10/58 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Conference for teachers and students of Dance at VMFA, master classes, lecture and performance by Alwin Dance Theatre, agenda, list of dance teachers. Date- 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, AIV. Dates- 1/61 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Virginia Architects, Designers and photographers\", Collectors Circle, Va. Artists Biennial, donations, gifts, memorial fund. Dates- 6/59 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, acting director of the Museum and Governor Darden, regarding the Museum director and the Curator of Decorative Arts, who were both on leave to the armed forces during World War II, 1942-44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with and biographical information about Carson Davenport, Virginia artist. Dates- 1936-1944.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to Ms. Davis. Subject- visits to \"Faraway Farms\" (Cheek's property) Davis was apparently a housekeeper/caretaker of some kind. Dates- 2/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and donors Mrs. Lincoln Davis, and George Cole Scott and Hildreth Dunn Scott, 1937-43.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., E.M. Davis, III (Curator) and L. Cheek, Jr. Subject-restoration of Mrs. Davis' Flemish painting, gifts from Mrs. Davis, information on Museum Board accessions committee (Mrs. Davis member), etc. Dates- 10/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mrs. Lincoln Davis. Subject- Trustee/Museum business, letter of resignation from Board, etc., 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Elizabeth Nottingham Day and Horace Day, patrons and donors, 1934-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Day's exhibition at the VMFA. Dates- 1/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and Mrs. J.G. Pollard to Mr. and Mrs. Horace Day. Subject- Horace Day biographical information, exhibition record, job recommendation, newspaper editorial written by Mr. Day on American Painting, etc. Dates- 1950- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to Mr. Howard Dearstyne. Subject- proposed exhibition of Dearstyne's work and speaking engagement, etc. Dates- 11/50-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Chamber Music Society, Building grounds committee, gifts, donation. Dates- 1954-65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to the Earl de la Warr. Subject- a visit to Richmond by the Earl, loan of a painting to the Museum exhibition \"England's World of 1607\", etc. Dates- 4/57-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mrs. Marie de Mare. Subject- catalogues of \"Healy's Sitters\" exhibition ( Mrs. de Mare was Healy's grand-daughter), proposed film and biography of Healy by Mrs. de Mare, etc. Dates- 5/49-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His position as Art Director of AIV, music and dance folders. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from D. Nichols (administrator), F. Haseltine (PR). Subject- VMT subscription, Executive Committee Report, Collections Activities, Public Information Report. Dates- 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- information about an exhibition scheduled From Nov.22-Dec.31, 1955 featuring merchandise available for purchase in time for Christmas. Dates- 9/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Traveling exhibition. Dates- 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- International Traveling exhibition. VMFA and Leslie Cheek were the American coordinators from 1951-1954. Lists of attendees at the opening dinner 1/15/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"Design in Scandinavia\" exhibition checklist, description of the exhibition, official record of receipt and list of items received but not included in exhibition, etc. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- RSVP's to dinner held on the opening night of the exhibition \"Design in Scandinavia\". Dates- 12/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr., Mrs. J.G. Pollard and M.B. Christison. Subject- exhibition catalogue information for \"Design in Scandinavia\" and RSVP's for dinner held on the opening night of the exhibition. Dates- 12/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- American Tour 1954-57. Correspondence and publicity regarding. AFA took over the circulation of the exhibition.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Committees in the United States. Lists of members and minutes from meetings 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Favorable reviews of the exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Copy of a New York Times article written by Cheek concerning the upcoming exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Opening of the exhibition at the Museum, January 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- dinner guest lists, menu, planning for opening night dinner for \"Design in Scandinavia\" exhibition, list of Board of Trustee committee appointments 1953-4, registration for Southeastern Museums conference 1953, etc. Dates- 12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- RSVP's for the dinner and other opening events for the exhibition \"Design in Scandinavia\", exhibition catalogue, information used in planning printed material for the exhibition, etc. Dates- 4/53-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject-job description of a designer for the Design and Construction division of the Museum, proposed hiring of a designer, etc. Dates- 2/54-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- floor plan and printed matter for \"Designer-Craftsmen USA\" exhibition, photos of the exhibition, VMFA Member's Bulletin vol.15, no.5 (1/55), etc. Dates-11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and L. Strauss. Subject- 25th Anniversary, draft of appeal to enlarge endowment fund, pamphlet. Dated- 6/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposal for a diorama in connection with \"Orientations of Virginia's Cultural Background\", photographs. Dates- 7/61 - 6/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Resolution by the Executive Committee to authorize excess travel cost by VMFA staff. Dates- 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trip itinerary, pamphlets. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, F. Fowler, D. Nichols, B. Ryan. Subject- All manner of VMFA operation: photography budgets, payroll dispersal, VMT renovation, Artmobile, damage and security of Art works, gallery installation, loans, art purchase invoices, Theatre contract, repairs and modification invoices, grievance procedure, pamphlets, Interpol investigation of Indian sculptures, requests for establishing new positions: Vice Director for Public Affairs and Artmobile curator. \"Partnership Agreement of Artco and Company\", \"Operation Countdown\", analysis of responsibilities and time required for completion of the North Wing. Photographs, pamphlets, announcements. Accessions and gifts: 17th C. Eng. Embroidered Casket, Byzantine Bronze Plaque, Tomato Soup Can (A. Warhol), Bolt of Lightening (R. Lichtenstein), Portrait of a Lady, Payne Collection. Dates- 1/68 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, F. Haseltine, D. Nicholas, J.M. Brown, P. Near, A.W. Stalnaker, B. Ryan, Mrs. Pollard. Subject- All manner of inter-museum operations: Public information schedules, membership campaign, promotion deadlines, travel itineraries, budget proposals, etc. P. Nears observations on possible acquisitions. Dates- 7/64 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letters of request, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Secretary to the museum, biographical data, job description. Museum files and the law regarding public information, records management, records to be retired, list of file classification: deletions and additions. Events schedules, agendas and exhibitions. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown, A. Dohn. Subject- Letter of recognition of donations, list of donors and their gifts of art works. Dates- 1964-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Chenery Estate and Gottwald endowment Fund. Art Nouveau gift of Sydney and Frances Lewis. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- VMT, Fellowship Fund, Museum Classes, Chenery Estate, Art Nouveau Fund, Artmobile and Gottwald Endowment Fund. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Buyers guides, pamphlets, magazine excerpts, specifications, blueprints, lists of chapters and affiliates, photographs. Dates- 9/61 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J.G. Pollard, and L. Cheek. Subject- Gift of Dunsten Memorial, Payment record, gallery proposals, \"The Virginia Museum Needs New Wings\": appeal to membership and Trustees for building funds. Dates- 12/46 - 4/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Mrs. Alfred I. (Jessie Ball) Dupont. Subject- Donations. Contains a letter regarding her feelings in favor of segregation at the museum and in the arts. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jessie Ball duPont's membership on the Executive Board, gifts and donations. Dates- 5/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Jessie Ball duPont. Subject- Membership as a Trustee, Fellow, Chair of 25th Anniversary Fund drive, contributions and gifts, magazine excerpts, biographical information, contributions and gifts, progress report from Anniversary Fund Drive. Dates- 2/59 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and D. Hudson (state coordinator of Arts System). Subject- Salary scales for VMT, NEA grant proposals. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Exhibitions, Artmobile, VMT, Va. Fellowships, search for potential jurors, work schedules invitations, newspapers, postcards, etc. Accessions and gifts: \"Autumn Leaves\", A. Palmer. Dates- 5/46-5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Agenda and letters to K. Fowler of VMT. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Wm. Heartwell and Gov. Holton. Subject- \"Minutes of Economic Resource Task Force Meeting\": 7/23/71, 9/2/71, 10/8/71, 1/13/72, 4/20/72, purpose of task force was to improve communication between various agencies and the governors office. Draft of Executive order: relationship of state agency organizations to Commonwealth planning districts, budget estimates, agendas, Bills held in House Committee for the 1973 General Assembly. Dates- 1971 -72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- C. Guinnan request for a meeting room. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from A. Stalnaker and H. Dohn. Subject- Events for Governors School for Gifted Students: schedule, housing, food service, etc. Dated- 7/73- 8/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between A. Dohn and Mr. Albertia. Subject- Student application, agendas and statement of purpose. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Event to expose students to the function, organization and operation of VMFA, timetable and agendas. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and B. Bothmer (Egyptologist, BMFA). Subject- Invitations, list of Egyptian art objects available for purchase. Dates- 9/54 - 11/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and M. Christison. Subject- Requests for films and slides, Artmobile, loans for Egyptian Gallery, statement/remarks for opening exhibition, newspaper clippings, blueprints. Dates- 2/55 - 12/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Suggested remarks related to \"Installation of a Gallery of Egyptian Art\", loans from other museums, agendas, letters to other curators and directors. Gift of Egyptian Gallery from Mrs. James Parsons. Dates-2/61 - 4/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- early planning stages of the exhibition \"England 1607\", list of pieces in, list of lenders to the exhibition, installation schedule and exhibition description, printed materials, \"Status Report on the Museum's Jamestown Festival Program\", etc. Dates- 6/54-8/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Gallery opening made possible through gifts of china from Lady Nancy Astor, invitations and loan requests. Dates- 4/61 - 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- invitations to these exhibitions: \"Masterpieces of Chinese Art\" and \"Russian Imperial Jewels\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedules 1946, 1946/7, 1949, 1950, Entertainment Committee announcements and replies, committee report 1946, committee roster 1949/50, biographical information on the following Museum guests: Yasuo Kuniyoshi, John W. Taylor, Charles W. Smith, Reginald Marsh and Lamar Dodd, etc. Dates- 1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedule 1946/7, 1950, 1951, 1952, 1953, 1954, Entertainment Committee rosters 1950/1, 1951/2, 1952/3, proposed Friday evening events 1950/1, committee meeting minutes 1952, biographical information about George T. Hamilton, etc. Dates- 1946-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trustee/Museum business, VMFA Entertainment Committee schedule 1954, 1955, 1956, announcements and minutes of Entertainment Committee meetings 1951, 1953, 1954, 1955, 1956, etc. Dates- 1951-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee roster, Entertainment Committee schedule 1955, meeting announcements, biographical information about the artist Donald Oenslager, etc. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trustee/Museum business, announcements and replies for VMFA Entertainment Committee meetings, roster of Entertainment Committee, committee schedule 1955, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mrs. Arthur Kelly Evans. Subject- a bequest to the Museum from Mrs. Evans, etc. Dates- 11/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- proposal for fundraising project for VMFA Council in fall 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- 60the Anniversary of the AFA meeting and symposium in Williamsburg, registration forms. Dates- 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Agenda, timetable and luncheon for behind the scenes tours by the Council. Date-1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Benefit for the Council Service Fund, program, menu. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Museum in Action\": documentary of VMFA galleries and statewide activities, preview agenda, press dinner, invitations. Producer: Richard Rochement Narrator: Alistair Cooke Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Request for VMFA banquet services. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from W.S. Robertson. Subject- Exhibition: \"Treasures from the Norfolk Museum\", Governor's reception, program agenda. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Gallery plan, staff assignments and program. Dates- 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Reinstallation of the permanent galleries. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Members dinner dance event, invitations, guest list. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Glasgow Estate, Jamestown Tablet. Reception for Committee on Law Celebration. Dates- 12/58 - 4/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Members preview and reception: timetable, program, invitations, gallery plan, etc. Jack Larsen: lecture and biographical data. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter of invitation to members of Virginia Chamber Music Society to attend a Theatre-Dinner. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Inauguration of a monthly series of theatre Dinners, guest list, letters of invitation for event and menu. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition: \"Designs for the Theatre\" Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Reception for British group of scholars and collectors and travel itinerary. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- A British organization on American Tour. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Meeting at VMFA for NCEW: an organization to stimulate the conscience and quality of the American Editorial page. VMFA Executive committee minutes, biographical data, program agenda. Dates- 7/58 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letter of request for use of VMFA Gallery for Dinner, agenda, timetable. Dates- 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Tour routes, agenda and schedule of events for reception and letter to new members. Dates- 9/68 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letter of invitation to reception, tour of museum, agenda, timetable, etc. Dates- 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. Breeden (Membership Chair). Subject- Procedure and agenda for members reception and tour schedule, press release, invitations, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from F. Haseltine. Subject- VMT Premiere performance and promotion. Dates- 5/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- exhibition: \"Treasures of the Norfolk Museum\", program/dinner agenda, invitation, etc. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Arthur Houghton. Subject- Preliminary event outline, layout, program agenda, procedure, invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Annual event to honor corporate patrons: entertainment, decorations, invitation list and suggested remarks to be delivered by President, E. Will. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Private advanced performance of \"School For Wives\", biographical data on Peggy Wood. Dates- 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and W. Rhoads. Subject- Agenda and sample of invitation. Dates- 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Gregory Peck. Subject- Grand opening of Virginia Theatre Arts System, events schedule for preview, Letter from Gregory Peck. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Library reception and banquet for college Presidents attending the Drama Festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Dinner and Theatre Party: agenda, invitations. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letters of request and agenda for Theatre Dinner Party. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Wm. Rhodes and E.M. Last (Chair, RLS) Subject- Performance of RLS at VMT, ticket sales and cost estimates. Dates- 1/65 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letter of request for VMFA services. Dates- 4/31/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Robinson House formerly the Scientific Research Organization, VMFA headquarters for LOAS, adult classes and resident craftsperson, Invitation, Historical background, Bulletin vol.24 no.7 4/64 Dates- 8/62 - 3/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Helen Dohn. Subject- Smith College dinner with lecture by Charles Chetham, Director of Smith College Art Museum, agenda, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- The VMFA Council, Theatre Affiliates, President's Dinner. Music, Dance and Film Societies. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- The Hospitality and Information Service for diplomatic residents and families. Dates- 1968. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- three day seminar program of multi-level experience in the Arts For exceptional Virginia Youths, agendas, etc. Dates- 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- VMFA luncheon and tour. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Paintings and drawings by E. Vedder, speaker. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Requests for contributions. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Juror: Hugh Newell Johnson. Reception, guest list and agenda. Exhibition catalog. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Harry Bertoia, Sherman Lee. Subject- General correspondence regarding juror service. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Sherman Lee. Subject- Jury Chair: Sherman Lee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Juror: William Pahlmann. Event program agenda, invitation, guest list, etc. Catalog: \"Virginia Interior Designers 1973\". Dates- 10/72 - 3/73 \"Virginia Interior Designers Reception Fri. 16 Mar.,  1973, 5-7 p.m.\" Subject- Invitation. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, W. Gaines and H. Dohn. Subject- Schedule of events, exhibitions, Bicentennial Celebration. loans, gallery tours, calendar news, Invitation for the \"India In Virginia\" exhibition. Dates- 8/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains minutes, agendas and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas, 1954-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, announcements, agendas and minutes of VMFA Exec. Committee meetings 1955, 1956, etc. Dates- 9/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trustee/Museum business, VMFA Exec. Committee minutes 1956, list of Exec, Committee members 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and William J. Rhodes, Jr. (President). Subject- Trustee/Museum business Exec. Committee meeting agendas 1954, 1955, 1956, Museum finances (pay scale, Director's allowable expenses, approvals for purchases) VMFA Committee appointments 1956-7, etc. Dates- 6/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, L. Cheek, Jr. and Col. Henry W. Anderson (President). Subject- Trustee/Museum business, VMFA Exec. Committee meeting minutes 1950, 1951, 1952, 1953, listing of members of the Exec. Committee 1950, 1951, Exec. Committee resolutions 1950, 1951, 1953, By-Laws revised and adopted 1951, etc. Dates- 1950-3. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- Executive Committee minutes, copies of Exec. Committee minutes 1953, 1954, 1955. Dates- 12/53-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Gari Melchers Memorial Committee, VMFA Exec. Committee minutes 1956, list of Exec. Committee members 1956, etc. Dates- 4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Trustee/Museum business, VA Art Alliance, Williams Fund purchase, VMFA Exec. Committee agenda 1952, 1953, 1954. Dates- 5/51-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, W. Gaines, R. Velz, M. Christison. Subject- Roster of large Richmond firms and number of employees, invitation cover letter, remarks to be delivered after luncheon. Dates- 9/63 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- lists of proposed exhibitions, events schedule for 1955-6 season, roster of members and schedule of the entertainment committee, drama schedule for Virginia Museum Theatre, etc. Dates- 7/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Notable lecturers and AIV contributors, biographical data. Jurors: Charles Eames, Morris Ketchum and Bert Stern. Dates- 1967 – 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Budgets, loan requests. \"Picasso: A Selected View\", \"12 American Painters\", List of Art Works, biographical notes test for the catalog: \"The Flowering of American Folk Art\". Catalog: \"American Painting 1970 including correspondence with Richard Diebenkorn. Dates- 1970-1974. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, P. Near and F. Brandt. Subject- Bernard Martins' \"Portrait of Edward Hopper\", \"Walter Gropius - 1883 - 1969\", \"Jose Puig\", projected budget, attendance records, requests for loans, receptions events schedules, etc. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Engineering projects around the world, assembled to illustrate the aesthetic impact of technology. Cost estimates for exhibition, speakers and invitations. Dates- 7/64 - 1/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Outstanding objects in American Museum collections that are gifts or have been purchased with contributions from patrons. Event arrangements/planning. Requests of loans and press releases. \"A Brief History of the Virginia Museum of Fine Arts\", by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition \"Homage to the Square\", signed letter from Elaine de Kooning. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Opening festivities of the Aldrich Collection of Impressionist and Post-Impressionist paintings and sculpture. Catalogue: \"The Aldrich Collection\", foreword by L. Cheek. Dates- 11/58 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Juror: Bartlett Hayes. VMFA purchases from exhibition. Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Juror: C.V. Donovan. Request for loans from other galleries. Dates- 1962 , 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Al Held. Subject- Juror: Peter Selz. The removal of artwork from the wall of the VMFA for a period of one week in demonstration of racism, war and repression in America. List of paintings to be shipped and installation instructions. Dates- 9/69 - 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Search for a disposable cardboard shelter for use in a traveling sculpture exhibition to the Chapters and Affiliates. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Juried exhibition of Virginia Architects, Designers and Photographers. American Painting exhibition. Dates- 1964, 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, F. Brandt, Sydney and Frances Lewis. Subject- Art Nouveau exhibition: request for loans, lists of objects, opening event agenda, timetable, invitations, etc. Lecturer: Robert Koch. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. H. Bache and P. Near. Subject- Collector-of-the Year: Pre-Columbian gold collection, list of objects, letters to members of Collectors Circle. Dates- 196 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Request for flags from Embassy of the Federal Republic of Germany. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, P. Near and F. Brandt. Subject- Kent Bicentennial Portfolio: \"Spirit of Independence\", prints by 12 Contemporary American Artists. Rockefeller Collection of Picasso Tapestries. Dates- 11/74 - 11/75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Phillip Hofer. Subject- Philip Hofer: biographical data and lecture on Blake. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and P. Near. Subject- Block as Collector-of-the Year (1967): Collection of 19th and 20th century watercolors and drawings, reviews and agendas. Dates- 10/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Museum of Modern Art exhibition \"Art Lending Service Retrospective\", lecture by MOMA Junior Council President Lily Auchincloss, lending services, expenses and pamphlet. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Traveling exhibit on ancient Chinese treasures. Date- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press releases for Virginia's Civil War centennial Exhibition and celebration at the VMFA, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- C. Conger (White House Curator) and his collection of interior furnishings. Heeramaneck Collection. Dates- 1967, 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Blumka Medieval Collection: Preview, program agenda, invitations, etc. Damage report to Gothic Cut Velvet Cloth, Conservators report and insurance claims. Dates- 1/73 - 5/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, P. Near and F. Brandt. Subject- Exhibition of Tapestries from the House of Edgeworth and paintings, prints and drawings. Lecture, list of objects, PR, gallery plan, invitations, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek's service as a juror for \"International Glass\", gallery plan, photographs, list of jurors choice objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition \"Robes from the Forbidden City\": lecture by Alan Priest on Chinese Textiles. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, F. Brandt and P. Near. Subject- Virginia Photographer 1971, juror: Harry Callahan. Mourot Collection of porcelain. Exhibition schedules, lectures, gifts, loans of art objects, roster of Trustees. Catalog: \"Virginia Artists 1971\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Davies exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and H. Gummerus (Finnish Society of Crafts and Design). Subject- Gummerus lecture on Finnish design. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Traveling exhibition of Tutankhamun. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Bernard Von Bothmer (Brooklyn Museum). Subject- Von Bothmer account of his discovery fo the missing portion of VMFA fragment of Sema-Tawy-Tefnakht. Conservation and restoration of scribe, magazine clippings. Slides and photographs. Dates- 12/64 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Mrs. L.J. Dee (Cooper- Hewitt) Subject- Her Lecture to VMFA. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecture by Buckminister Fuller, biographical data, catalog, installation, invitations, etc. Dates- 1/59 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Contemporary Art forms of Israel. Lecturer: Avid Yafeh. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecturer: John Walker. Invitations, entertainment. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Wm. Gaines. Subject- Documentation of the making of George Steven's film. Installation, design, floor plans and cooperating agencies. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Herbert Hoffman, Perry Rathbone and Patricia Davidson. Subject- Bill S.2273: to enable works of art and other materials imported for temporary exhibition in non-profit activities to be immune from judicial process. Description of objects for possible acquisition. Exhibition design, installation, VMFA and BMFA gallery plans, invitations, etc. Dates- 9/63 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, P. Rathbone and H. Hoffman. Subject- Loans of Greek gold from the Hermitage and other institutions. Appeals to the State Department regarding Bill S.2773. Dates- 3/64 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Christine Alexander. Subject- Alexander's service to VMFA consultant on Greek and roman acquisitions. Exhibition lecture by Dorothy Kent Hill. Dates- 12/61 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Western art in Virginia collections, loan requests, film series, invitations, program agenda, etc. Lecturer: Larry Curry. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Perry Rathbone and Nasli Heeramaneck. Subject- Installation and acquisitions from the Heeramaneck collection. Lecturer: John Alexander Pope (Freer Gallery), newspaper clippings. Dates- 12/66 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Paul Mellon and Lessing Roswald. Subject- Request for loans, receiving and storage of objects. Event invitations, agenda, etc. Lecturer: Philip Hofer. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and John Koenig. Subject- Proposals for the filming and documentation of an epic film: research, selection, documentation, etc. Proposals were originally made to Samuel Goldwyn and Cecil B. de Mille. Dates- 7/55 - 2/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and L. Goodrich. Subject- Requests for loans from various collections. Text for catalog forward by L. Cheek, and essay by Lloyd Goodrich. Biographical data and newspaper clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Events schedule, agenda, invitations, pamphlets. Lecturer: Robert Doty. \"Portrait of Edward Hopper\" and drawing studies by Virginia painter, Bernard Martin. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Exhibition of art from Virginia Collections to commemorate the 10th anniversary of AIV. Request for loans, invitations, members preview, agenda, list of objects for exhibition. Lecturer: Thomas E. Norton, biographical data. Dates- 7/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Acquisition of Indian art collection. Dates- 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition of works by French artists commissioned by Claude Aveline to illustrate his poem \"L'Oiseau que n'existe pas\". Lecturer: Lawrence Alloway, biographical data. Members Bulletin vol.24 no.8 4.64. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Anne Marie Pope. Subject- VMFA display areas. Date- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from F. Brandt and P. Near. Subject- Art Nouveau Loan, list of Lewis gifts and purchases. Dates- 1971 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and C.S. Hathway. Subject- Lecture search. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Biographical data, agendas, timetables and invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Islamic rugs circulated by the Smithsonian Institute and lecture by McMullan. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J. Baskett and P. Mellon. Subject- List of paintings from Mellon Collection. Gallery preparation, storage, costs, opening festivities, interpretation of exhibition, letters to print media. Press release, newspaper clippings. Lecturers: W.G. Constable, John Baskett and Basil Taylor. Essay- \"Painting In England, 1700-1850\". Dates- 8/62 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Paul Mellon. Subject- Mellon English Painting Collection, early discussion concerning the scope and preparation of catalog and exhibition. \"Letter from Basil Taylor Dated-23 January 1963 re: Mellon Show\", letter of disgruntlement over the various stages of the Mellon catalog. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Basil Taylor. Subject- Mellon Collection of English painting, initial planning stages, lectures, installation, catalog, etc. Dates- 11/61 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Paul Mellon. Subject- Exhibition: \"Painting in England\", program of events, invitations, gallery plan, program, invitation, guest list, etc. Dates- 5/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Paul Mellon and Basil Taylor. Subject- Basil Taylor, advisor tot Mellon collection and author of exhibition catalog: \"Painting in England, 1700-1850\". Catalog foreword by L. Cheek. Dates- 12/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitations and dinner programs. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Installation, catalog, security, lecture. List of slides, media coverage. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Remarks by Paul Mellon on exhibition opening, mock-ups of booklet form. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Full color photographic reproduction of the \"Sistine Chapel\", exhibition circulated by LIFE magazine. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Demonstration of mosaic technique using contemporary materials. Dates- 5/54 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Henry Moore. Subject- Aid of Helen Norman (neighbor to Moore) on establishing a dialogue with the VMFA concerning an exhibition and visit by the artist. Preliminary exhibition plans. Dates- 10/57 - 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Henry Moore. Subject- Preview and opening night arrangements, newspaper clippings and press releases. Dates- 5/65 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and R. Neutra. Subject- Exhibition and speaking tour by the artist. Dates- 6/59 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Goya exhibition: request for loans of works by Goya, announcements, invitations, list of paintings, Dr. Priscilla Muller (curator and speaker for exhibition). Program agenda. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecturer: John S. Szarkowski. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and James Rorimer. Subject- Exhibition of Contemporary photographs. Biographical data on Ivan Dimitri and A. Hyatt Mayor. Catalog: \"Phototgraphy in the Fine Arts\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- proposed exhibitions, information about traveling exhibitions, etc. Dates- 10/48-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Perry Rathbone. Subject- Pre-Columbian gold with lecture by Allen Wardwell. Dates- 4/67 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Vincent Price as Collector-of-the-Year. Date- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- African collection from the Olsen Foundation. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Una Johnson (Brooklyn Museum). Subject- Contemporary prints from the Brooklyn Museum, invitations and announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition of the American Institute of Graphic Arts 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Wm. Gaines, F. Brandt, Anne Marie Pope. Subject- Reinstallation of the permanent collection, estimated exhibition costs, Heeramaneck collection, list of exhibitions available form International Exhibitions foundation. Exhibition catalog: John Kelly Fitzpatrick\" , photographs. Dates- 9/68 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Wm. Quillian. Subject- Exhibition of Randolph-Macon Collection. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program agenda for reception, exhibition, gallery plan. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibitions of Chinese Textiles from Minneapolis Institute of the Arts. Lecture by Alan Priest. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposed gift of \"Gates of Hell\", from the Cantor Collection. Exhibition \"Study of a Woman's Torso\". Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Rosenwald as Collector-of-the-Year, 1965. \"Master Prints From The Rosenwald Collection\", introduction by Rosenwald for the exhibition checklist. Dates- 12/64 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Corrected draft by L. Cheek. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and L. Rosenwald. Subject- Personal invitations from L. Cheek. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition announcements. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Schedule of events for the season. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Paul Tishman. Subject- Exhibition from the Tishman Collection, letter of invitation, installation, Council lecture/luncheon. Speaker: Dr. John Akar, Ambassador of Sierra Leone. Remarks by J.M. Brown and Tishman, announcements and biographical data, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mailing lists for colleges, museums, etc. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek tour of England to photograph Elizabethan Houses. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Presentation of various forms of Arts of England during Shakespeare's life in commemoration of the 4th Centenary of his birth. Requests for loans of Elizabethan objects, press release, installation, etc. Dates- 8/63 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Exhibition of 19th and 20th century paintings, reception and event announcements. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Paul Mellon (Exhibition Chair) and Wm. Constable. Subject- requests for loans, French and British sponsors of exhibition including Queen Elizabeth, Honorary Committee Members, Patrons, catalog, PR, object damage report. Basil Taylor as special advisor to exhibition. Dates- 7/58 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Consultation on exhibition proceedings, travel and lecture schedule, biographical data and text for introduction to the catalog. Dates- 4/60 - 7/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Basil Taylor, Paul Mellon and A. Eiseman. Subject- Catalog layout, printing, design, budget, cost estimates, contributions. Essay- \"Classic Horse Paintings\", foreword by L. Cheek. Dates- 1/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Recipients of free catalogs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- William George Constable and his lecture for exhibition, biographical data, Bulletin vol.20 no.8 4/60. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of British sponsors, loans, selection committee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Mailing list, opening event, program and list of lenders to exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and John G. Pollard. Subject- List of sponsors, reception: program, agenda, menus, etc. Newspaper clippings. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Traveling exhibition in commemoration of Stravinsky's 80th birthday with related settings and costumes created for his ballets. Dates- 4/61 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Exhibition of contemporary prints and multiples (3-dimensional objects of limited editions), Lewis contributions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Railey Collection of European and Asian seals, Fisher Collection of paintings and exhibition of Ruth Safford: \"Interiors of Famous Houses\". Dates- 8/61 - 2/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from F. Brandt. Subject- Problems with exhibition objects. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Damage report of exhibition objects. Dates- 11/63  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Loans of objects from Pierpoint Morgan Library. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Extension of Tutankhamen exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Sample invitation and preview guest list. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- List of objects available for loan and prices. Exhibition announcements, gallery floor plan. Lecturers: Gerald Nordland and Hilton Kramer. Dates-1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Traveling exhibit from MOMA: \"Form In The Animated Cartoon\". Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to M. Christison. Subject- Unavailability of Van Gogh exhibition. Dates- 8/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Philip Johnson. Subject- Jurors: Carroll Meeks, Richard Di Natale and Hans Namuth. Official entry forms, exhibition announcements, biographical data. Dates- 10/61 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: Gyorgy Kepes, Philip Johnson and Ivan Dimitri. Invitations, guest lists, biographical data and entry forms. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- 1st Biennial exhibition.  Juror: Romaldo Giurgola.  AIA reception and dinner, program agenda, biographical data, invitations, pamphlets and exhibition catalog. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: Sherman Lee, Harry Bertoia, Bernard Perlin. Collectors reception, purchase of artist work by Trustees, invitations, entry forms, etc. Dates- 12/57 - 2/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, P. Near. Subject- Reception for purchasers of art works from the exhibition, and catalog. Dates- 1957, 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters to Artist on their award by the jury. Exhibition catalog, juror search and entry forms. Dates- 1959, 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: Carl Wienhardt Jr., Mary Callery and Robert Vickrey. Salon des Refuse's on view at Thalhimer's, events schedule and exhibition catalog. Dates- 6/64 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Juror: William Seitz. Installation, list of purchases, invoices, PR, invitations, guest lists, etc. Acquisition from Lewis Fund. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Gordon Bunshaft and A. Bodine. Entry forms and recipients of certificates of Distinction. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and P. Near. Subject- Exhibition to travel to Charlottesville. Dates- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecture by Dorothy Miner, announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and Mr. John G. Hays (Chairman of the Expansion and Development Committee). Subject- Trustee/Museum business, formation of the VMFA Expansion and Development Committee, report of the chairman, etc. Dates- 11/47-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and P. Crum (Curator) and College of William and Mary. Subject- W\u0026amp;M students visit to VMFA, loan from W\u0026amp;M for a VMFA traveling exhibition, arrangements for traveling exhibitions to W\u0026amp;M, etc. Dates- 2/41-7/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Education and Exhibitions) and Longwood College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Farmville State Teachers College, etc., 3/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- information on VMFA traveling exhibitions and an organization membership, etc. Dates- 7/48/8/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Art Club. Subject- arrangements for VMFA slides and traveling exhibitions to LAC, etc. Dates- 3/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Lynchburg College, etc. Dates- 1/49-2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Teacher's Club. Subject- arrangements for traveling exhibitions and slides to LTC, etc. Dates- 3/46-2/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Madison College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Madison College, etc. Dates- 12/47-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between C.C. McGehee (Assistant in Education Dept.) and Martinsville City schools. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Martinsville City schools, etc. Dates- 9/51- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA Education Dept. staff and Mary Baldwin College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to M.B. College. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Mary Washington College. Subject- arrangements for traveling exhibitions to M.W. College, arrangements for lecture by Christison at M.W. College, etc. Dates- 3/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Middlesex County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to MCWC, arrangements for lecture by Christison for MCWC, etc. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Narrows Woman's Club. Subject- arrangements for traveling exhibitions to NWC, etc. Dates- 10/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Newport News Woman's Club. Subject- arrangements for traveling exhibitions to NNWC, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Education and Exhibitions) and Norfolk Museum of Art. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to NM of A, exchange publications, etc. Dates- 1/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between H. Lloyd (VMFA State Services) and Richmond County Junior Woman's Club. Subject- arrangements for filmstrips to RCJWC, shipping instructions, etc. Dates- 10/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Roanoke County Woman's Club. Subject- VMFA traveling exhibition checklists, request for information about organization membership to the Museum, etc. Dates- 4/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between H. Lloyd (VMFA State Services Dept.) and Rockingham County public schools. Subject- VMFA traveling exhibition and slides checklists, arrangements for traveling exhibitions to Rockingham Co. Public schools, shipping instructions, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between E.L. Kallop (VMFA State Services Dept.) and Scottsville High Scholl. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions and slide sets to Scottsville HS, shipping instructions, etc. Dates- 9/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Sedley Woman's Club. Subject- notification of installment of Mrs. N.B. Rollings as chairman of Fine Arts Dept. of SWC, Date- 12/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Smithfield P.T.A. Subject- art material for Smithfield schools, Date- 11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between H.V. Rennie (Assistant in Education Dept.) and Southern Seminary and Junior College. Subject- schedule of VMFA traveling exhibitions to Southern Seminary and Jr. College ('46) and arrangements for traveling exhibitions to Southern Seminary and Jr. College, etc. Dates- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Hart (Extension Dept.) and St. Catherine's school. Subject- VMFA traveling exhibition checklists, schedule for traveling exhibitions to St. Catherine's, etc. Dates- 1/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and St. Christopher's school. Subject- schedule and arrangements for VMFA traveling exhibitions to St. Christopher's, etc. Dates- 9/48-11/48.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Staunton City School Board. Subject- arrangements for traveling exhibitions to Staunton City School Board, etc. Dates- 1/52-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, various Education Dept. staff and Stony Creek Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SCWC, etc. Dates- 2/47-1/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, various VMFA State Service Dept. and Education Dept. staff and Stratford College. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to Stratford College, shipping instructions, etc. Dates- 8/48-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition checklists, schedule and arrangements for traveling exhibitions to Stuart Hall, shipping instructions, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director of Collections and Education) and Suffolk Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SWC, etc. Dates- 8/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Surry Woman's Club. Subject- arrangements for tour of the Museum and traveling exhibitions to SWC, etc. Dates- 10/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Sweet Briar College. Subject- schedule and arrangements for traveling exhibitions to SBC, shipping instructions, etc. Dates- 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA State Service Dept. staff and Tazewell Parent-Teacher Association. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions, slide sets and filmstrips to Tazewell Parent-Teacher Association, shipping instructions, etc. Dates- 11/52-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Thomas Jefferson Junior Woman's Club. Subject- request and suggestions for speakers for TJJWC, etc. Dates- 7/47-9/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA and Thomas Jefferson Woman's Club. Subject- arrangements to visit, tour and hold a meeting at the Museum, etc. Dates- 11/40-1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA State Services Dept. and Three Arts Club of Blackstone. Subject- arrangements for filmstrips for TAC of B, shipping instructions, etc. Dates- 12/52-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- address of Mrs. Woods, President. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA Education Dept. staff and Toano Woman's Club. Subject- arrangements for holding a meeting at the Museum. Dates- 1/50-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and University of Richmond and Westhampton. Subject- arrangements for traveling exhibitions to U of R, shipping instructions, etc. Dates- 3/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- catalogues from the UVA Extension Dept. including the following: Famous Italian Paintings, Famous Flemish Paintings (Reprints from Seventy Famous Paintings by Adelaide D. Simpson (1927), The Story of Venetian Painting by Mrs. Stringfellow Barr and Cecily B.D. Ryder (1928) and Catalogue of Art Prints and Books (1937), etc. Dates- 1927-1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to UVA, shipping instructions, etc. Dates- 10/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and University of Virginia Museum of Fine Arts. Subject- checklists for traveling exhibitions sponsored by VMFA and UVA, the following publications by UVA: \"Twenty-five Contemporary Artists of Cleveland, Ohio\", \"Hugh Breckenridge\", \"Contemporary Artists of Virginia\", \"Contemporary Artists of Albemarle County and The University\", \"Alexander B. Trowbridge and Olin Dows\" and \"Elinor F. Hopkins\". Dates- 4/34-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between C.Y. Casey (Assistant in Education Dept.) and Upper King William County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to UKWCWC, shipping instructions, etc. Dates- 3/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Valentine Museum. Subject- information about becoming organization members of VMFA, a loan to VMFA from the Valentine, listing of the Valentine's activities, etc. Dates- 10/35-9/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and VA Education Association. Subject- Virginia Education Association art section meetings, etc. Dates- 2/47-10/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and VA Federation of Woman's Clubs. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VA. Federation of Woman's Clubs, VA Federation of Woman's Clubs yearbook ('47/8) and Directory ('48/9), etc. Dates- 1/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA traveling exhibition checklist. Dates- 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Virginia Polytechnic Institute. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to V.P.I.'s Architectural Department, etc. Dates- 6/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA State Services Dept. and Virginia State College (Norfolk Division). Subject- checklists for VMFA traveling exhibitions, arrangements for traveling exhibitions to VSC, shipping instructions, etc. Dates- 10/52-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and the Extension Dept. and VA State University. Subject- schedule of VMFA traveling exhibitions to VSU 1945-7, arrangements for traveling exhibitions to VSU, etc. Dates- 6/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Va. Teachers' Association. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VTA, arrangements for a lecture by Christison to VTA. Dates- 12/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA Education Dept. staff and Virginia Union University. Subject- VMFA loans to VUU's art festival, arrangements for traveling exhibitions to VUU, etc. Dates- 1946-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between E.L. Kallop (State Services Dept.) and Wakefield Woman's Club and P.T.A. Subject- checklists for VMFA traveling exhibition, arrangements for traveling exhibitions to WWC and P.T.A. Dates- 9/51-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Warren County High School. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Warren Co. HS, shipping instructions, etc. Dates- 10/46- 5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between O. Hart (Registrar) and Warwick County School Board. Subject- arrangements for traveling exhibitions to Warwick Co. Schools, etc. Dates- 1/49-4/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Warwick Woman's Club. Subject- arrangements for traveling exhibition to WWC, etc. Dates- 10/48- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Washington and Lee University. Subject- checklists of VMFA traveling exhibitions, arrangements for traveling exhibitions to W\u0026amp;L, etc. Dates-1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Waverly Woman's Club. Subject- schedule of VMFA traveling exhibitions to WWC ('46), WWC visit (with lecture) to VMFA, etc. Dates- 3/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA staff and West Point Schools P.T.A. Subject- arrangements for traveling exhibitions to West Point Schools, etc. Dates- 12/50-6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, various Education Dept. staff and Westmoreland Woman's Club. Subject- arrangements for traveling exhibitions to WWC, etc. Dates- 1/48-3/49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA State Services Dept. and William Campbell High School in Naruna, VA. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wm. Campbell HS, shipping instructions, etc. Dates- 12/52-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and various Education Dept. staff and Wilson-Jackson P.T.A. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wilson-Jackson P.T.A., etc. Dates- 1/47-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.T. Rhodes (Assistant in Education Dept.) and Wytheville County schools. Subject- arrangements for traveling exhibitions to Wytheville Co. schools. Dates- 4/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Wythe Woman's Club, Hampton. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC. Dates- 8/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education), various Education Dept. and State Services staff and Wytheville Woman's Club. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC, etc. Dates- 5/49-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Y.W.C.A.-Richmond. Subject- holding a meeting (with a visit and lecture) at VMFA. Dates- 4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA State Services Dept. and Young Woman's Club of Williamsburg. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to YWCW, shipping instructions, etc. Dates- 12/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between C.Y. Casey (Assistant in Education Dept.) and VMFA State Services Dept. and Zuni Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to ZWC, etc. Dates- 8/50-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\". Dates- 12/54-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\", note-included in these files: slides from Williams College of Art. Dates- 1947-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Chairman of the art department Williams College. Correspondence and biography 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Fashion Show in cooperation with Miller and Rhoads Dept. Store and Harpers Bazaar magazine to benefit the VMFA Council, Education Fund, Council dinner, event plans and program catalogue. Dates- 12/55 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator). Subject- the Fashion Festival of Arts and Flowers presented by the VMFA Council in cooperation with Miller and Rhoads Department Store, attendance lists, newspaper clippings, etc. Dates- 3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between national director and Thomas Colt, who was the State Director of the Federal Arts Project, 1935. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and the Federal Emergency Administration of Public Works regarding a grant to construct an additional wing to the Museum. 1935-38. More applications from Museum for funds from the Federal Emergency Administration of Public Works to complete projects such as casting a bust of John B. Payne and landscaping grounds. 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Federal Emergency Administration of Public Works and Virginia Commission for the Arts material, mostly on landscaping the grounds of the Museum, 1936. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Federated Arts Council of Richmond dinner and agenda, invitations. Dates- 2/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Peter Mooz. Subject- Committee reports, events schedules, annual meeting 5/29/74, \"Festival Of The Arts\", 18th annual report, Dogwood Dell June-Aug'74. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Awards Dinner agenda, letters of confirmation, thank-you's, etc. Dates- 12/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T.C. Colt, Jr. Subject- listing of and letters to prospective fellows (founding fellows), a copy of the constitution 4/55. Dates- 3/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Prospects for new membership program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Conservation Laboratory, Library Endowment, Fellows Weekend, orientation theatre, contributions and projects, statement of purpose, agendas, biographical data. Resolution in memory of Lewis Strauss. Dates- 1964-79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Fellowship Committee minutes 1942, 1948, 1949, 1950, Fellowship Committee agendas 1950, 1951, committee report 1949/50, Fellowship Committee announcements and replies, listing of fellowships given by the Virginia Museum of Fine Arts 1940-51, etc. Dates- 1942-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison. Subject- Aplicant interviews procedure. Date- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Fellowship Fund income account, application, letters to recipients: Primm Turner, Jenny- Lynn Franklin and John D. Norwood. Dates- 5/54 - 5/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Essay- \"Outline for a Proposed Film for the Virginia Museum of Fine Arts\" by Vavin, Inc. 3/60.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1947, 1948, 1950, Finance Committee meeting minutes 1948, 1949, 1950, letters soliciting opinions from Trustees about stock purchases and committee resolutions and replies, VMFA Pooled Endowment Account 1949, stockholder information , etc. Dates- 1947-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1950, 1951, Finance Committee meeting minutes 1952, committee report 1950, status of capital funds listing 1950, list of securities held and cash balances, financial transactions, etc. Dates- 1950-2. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1952, 1953, Finance Committee resolutions 1953/4, Capital Funds Investments and Cash listings 1952, 1953, stockholder information, financial transactions, etc. Dates- 1952-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1955, Finance Committee resolutions 1954, a listing of Finance Committee meetings and actions in writing 1948-56, financial transactions, stockholder information, statement of endowment investments 1955, pooled investment listing 1955, investment changes for the period 4/30/55-12/31/55, etc. Dates-1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Lawler Fund. Dates- 10/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- stockholder information (i.e. annual and quarterly reports of companies). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee resolutions 1948/9, excerpts from Finance Committee meeting minutes 1939, 1951, Date- 3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from A. Nicholas. Subject- Statements of income, balances, private income, special purchase funds, operating budget, etc. \"Virginia Museum Semi- Annual Financial Report Dec. 31, 1970\" , \"Summary of Financial Support\": 1935- March 31, 1971, 19l35- June 30, 1969, Art Purchase Funds, Capital Outlay Programs to purchase land and buildings, List of Art Purchases 1970-71. Dates- 6/70 - 10/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and G. Martin. Subject- Responses to questionnaire from various theatre directors, VMT regulations. Dates- 1965 -66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT Statement of Purpose, application for Samuel Tate Morgan and/or George Seay Memorial Trust Funds. Letter of grant award for the expansion of VMFA Library holdings and list of books purchased, newspaper clippings. Dates- 5/69 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Administrator, Richmond Area University Center. Correspondence with 1949-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Memorial for Col. Herbert Fitzroy, letters of receipt of contributors to purchase a sculpture to be placed on permanent exhibit in Artmobile II: \"Crowing Rooster II\", G. Marcks. Dates- 10/67 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- information about proper display of U.S., U.N. and VA flags. Dates-11/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns cultural development there. 1957-59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Agreement on the Importation of Educational, Scientific and Cultural Materials\", Bill signed on 6/24/59, press release. Unesco sponsored agreement to eliminate tariffs and special import taxes on educational, scientific and cultural materials. Dates- 9/59 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Horace S. Flournoy. Subject- repair of heating system at the Museum. Dates- 10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- plantings around the Waddy Fountains at the front of the building, lawn and plant care, listing of growing plants used, etc. Dates-6/54-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA staff and Harvard University's Fogg Art Museum, mostly regarding the loan of a Copley portrait for the Museum's inaugural exhibition, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, J. Coolidge (Dir., Fogg). Subject- General correspondence regarding conservation, authenticity of objects, employment referrals, research, etc. Dates- 4/52 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- arrangements for Folktale Marionette Theatre to perform at VMFA in Dec.1953, etc. Dates- 3/53-1/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- visit of Mrs. Henry Ford II, to see VMFA operations. Dates- 3/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about a Virginia artists watercolor exhibition sponsored by the Ford Foundation Title \"Virginia by Virginians\", copy of an invitation to Mr.and Mrs. Ford to the opening, etc. Dates- 1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- newspaper clippings and statement of purpose of the Ford Foundation. Dates-12/48-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Ford Foundation. Subject- proposal of VMFA serving as regional center for Ford Foundation's creative artists selection program 1958, proposals for Foundation support, Foundation publications, etc. Dates- 10/50-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., J.M. Brown and Ford Foundation. Subject- information about applying for Ford Foundation support, Foundation publications, etc. Dates- 10/59-10/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Program for Painters, Sculptors and Related Artists. Letters to jury members, entertainment. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., and the Ford Foundation. Subject- the Museum as a locale for the premiere art exhibition to be featured in the March issue of the Ford Times, an exhibition highlighting VA artists named \"Virginia for Virginians\", included are copies of the exhibitions' gallery guide, invitations to the preview and a copy of the Ford Times feature issue. Dates- 11/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and American Association of Museums (AAM). Subject- roster of foreign museum Directors visiting VMFA on a AAM sponsored tour (in cooperation with the State Department), biographical information on visitors, etc. Dates- 3/65-5/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to VMFA staff. Subject- memos about arrangements for luncheon held at Museum for international newspaper people. Dates- 6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposal for VMFA travel program, tour estimates and brochures. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition preview speaker: Ariad Yafeh, biographical data, reviews and photographs. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Guest lists for opening event, sample letters for invitations and replies. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about museum practices, Cheek serving as honorary member of advisory committee of Directors and Curators, etc. Dates- 3/52-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Keith Fowler. Subject- theatre operations, policies, programming, newsletter to friends, volunteers and theatre subscribers, etc. Dates- 10/69-12/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between William Francis and L. Cheek, Jr. Subject- Museum publications business and arrangements, etc. Dates- 12/64-9/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Governor Peery, T.C. Colt, Jr. and Douglas S. Freeman, president of the Confederate Memorial Institute. Subject- Transfer of the John B. Payne collection from the Battle Abbey to the museum. Dates- 1935-39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with L. Cheek, Jr. Subject- mostly professional matters, but some personal information is given. Dates- 1948-53.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and French and Company. Subject- French and Company, Inc. art dealers, loans, conservation work, proposed sales to Museum, photos and descriptions of objects, etc. Dates- 6/46-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject- photo requests from the Frick Art Reference Library, reference questions, exchange publications, etc. Dates- 2/46-9/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Friddell was columnist for the Richmond News Leader. Correspondence with Cheek, 1949-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- memo about calendar of Museum events, mailing to American Ballet Theatre Friends, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Preparation plans for \"George Stevens Makes a Film\", an exhibition based on the making of an epic film (The Greatest Story Ever Told), installation, cost estimates, etc. Dates- 1/64 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Search for Egyptian objects to purchase, exhibitions: Sport and Horse and American Folk Art, College Drama Festival, loan of P. Klee works, collectors circle, Biographical data, Fellows, donation, gifts, Segregation in VMT, background information on paintings for Wm. Henry Yates, Marshall Research Library, Poetry Society of Virginia, Glasgow Estate. Accessions and gifts: \"Tree\", H. Gray; E. Hopper; Rutherford Goodwin, Jr.(signature). Dates- 1/55 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General museum business, inter-museum memos. Richmond Sinfonia, special purpose gallery, exhibition policy. Museum television, funding sources, COVAO conference, sale of Artmobile I, Council, newspaper clippings, pamphlets and funds generated through programs division, letter from Robert Indiana.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Bill (William) Gaines (head of Programs Division). Subject- programming educational, exhibitions, films, affiliates, etc., Museum operations, etc. Dates- 3/70-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Acquisitions, objects for purchase consideration, various newsletters, exhibition catalog: \"Nature As Scene\". Dates- 4/76 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with other museums. Subject- exhibition announcements, information about loans to other museums, etc. Dates- 3/53-3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Dir. for Collections and Education) and Mr. Charles Seymour (Yale University). Subject-request to look at the Museum's collections. Dates- 2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Col. Edgar Garbisch and L. Cheek, Jr. Subject- gift to VMFA-Junius Brutus Stearns paintings of life of George Washington, photos and information about paintings, biographical information about Garbisch, etc. Dates- 1/50-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- arrangements for the 50th anniversary dinner of Garden Club held at VMFA, etc. Dates- 9/68-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns the Garden Clubs of Virginia and America 1958-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., J.M. Brown and Mrs. T. Fleetwood. Subject- Mrs. T. Fleetwood as a Trustee, Trustee business, gift to Museum, etc. Dates- 5/64-7/75. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Landscape Architect for Museum. 1957-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by John Garland Pollard, Jr. Subject- invitation to members of General Assembly to use Museum facilities, announcement of a reception for General Assembly members spouses, VMFA Members' Bulletin vol.20, no.5 1/60. Dates- 1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters sent to members of the General Assembly 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and Gibbes Art Gallery. Subject- Brown working on problems of the Gibbes Art Gallery, \"Report to the Board of the Charleston Art Association\" co-written by Brown, etc. Dates- 12/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trustee, Executive Committee. Dates- 1950-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mr. George D. Gibson as Trustee, Trustee and Local Building Committee business, copies and excerpts from minutes of the Executive Committee 1948-53 dealing with VMFA building, news release 6/57 about Gibson being elected VMFA President, etc. Dates- 12/52-11/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mr. George D. Gibson, a lawyer with Hunton, Williams, Gay., Moore and Powell. Subject- flooding at the Museum, building inspections, structural problems with the building, the shipment of a Watteau painting to VMFA, a Melchers gift, etc. Dates- 7/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown. Subject- acknowledgments of receipt, thank you letters to donors for gifts of all kinds (money, books, equipment, etc.,). Dates-11/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mr. Arthur G. Glasgow. Subject- gifts to Museum, Museum events, information pertaining to the Estates of Margaret Branch Glasgow and Arthur Graham Glasgow. Dates- 2/54-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr., J.M. Brown and Walter S. Robertson (VMFA President). Subject- transcript of remarks by Governor Mills E. Godwin, Jr. at Southeastern Theatre Conference 1966, Museum events, Mrs. Godwin to serve as honorary chairman of Entertainment Committee, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- President of Princeton University. Request for him to lecture at Museum. Dates- 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Associated Artist Gallery, Washington, D.C. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Candidate for Theatre Director-Producer 1957.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mrs. Pollard was a member of the Goodwin Memorial Commission appointed by the state to erect a scroll honoring the Reverend William Archer Rutherfoord Goodwin, former rector of Bruton Parish Church and man who dedicated his life to the restoration of Colonial Williamsburg, 1950-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and Mr. F.D. Gottwald. Subject- agreement and arrangements to establish Elisabeth Shelton Gottwald Fund. Dates- 4/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- copy of report on Museum, recommendations to Museum made by Governor's Management Study Group. Dates-7/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Mills Godwin and Peter Mooz. Subject- Budgets: cutbacks, executive order, appointments to VMFA Executive Board, creation of job positions, Museum organization charts, Melchers Estate, Arts Commission, Executive Mansion furnishings and lists of objects. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- arrangements for unveiling (10/5/71) of new acquisition of Goya's painting- General Nicholas Guye guest lists, invitation, news releases, photo and information about painting, etc. Dates- 9/71-2/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- \"General Guye\", Goya. Special event, agenda, invitations, etc. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with John Graham (Curator, Colonial Williamsburg). Dates- 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Related to the death of Mr. Gray and his family. His bequest to the Museum and a memorial to him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. Horace Gray, Trustee. Subject- Museum business, biographical information about Horace Gray, VMFA Members' Bulletin vol.19, no.6 (2/59), etc. Dates-5/51-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about hiring Mr. Paul Grigaut as head of Collections Division, Museum practices, information about Museum Collections catalogues, etc. Dates- 6/62-4/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Theft-general. Contains one newspaper clipping 5/28/62.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- correspondence with Senator Raymond R. Guest, announcement of gift to Museum of bronze gates, Museum events and business, etc. Dates- 11/48-5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and L. Cheek. Subject- List of sites for guidebook , roster of names for nominating committee, letters to publishers, price structure, biographical data, promotional information, outline for publication by the Trustees for \"An Official Guide To Four Centuries Of Building In The Old Dominion\". Dates- 4/66 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Finnish Society of Crafts and Design 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, F. Brandt, F. Haseltine. Subject- Installation of \"Symbol\" at Phillip Morris site, invitation mailing list, reception agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown, F. Haseltine, P. Near. Subject- Exhibitions, VMT, loans, gifts, endowments, biographical data, invoice for work restored, acquisitions, installation of Heeramaneck Collection, Pastorale fund, Project Grant Application, Tax Status. Essay- \"A Brief Summary of Accomplishments of the Virginia Museum of Fine Arts\", 1962-64. Dates- 9/51 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mr. Haller was a public relations consultant hired under special circumstances and kept off of the state payroll. This letter pertains to this and circumventing the state system 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and S. Robertson. Subject- AAM meeting in Williamsburg, increase in security staff at VMFA, Artmobile, Executive order from the Governor's office to divide the Board of Trustees into five divisions. Request for authority to prepare Capital Outlay Plans for South Wing, invitations to serve on various committees, presentation of Webster S. Rhoads award to Gov. Harrison, newspaper clippings. Dates- 5/61 - 11/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and Public Buildings Administration (Federal Works Agency). Subject- Harrisonburg post office mural competition (Colt served on the jury of selection and advisory committee) and contract with Public Buildings Administration. Dates- 2/41-10/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cheek's 25th college reunion and an art exhibition in conjunction with the reunion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Melissa Hayden and Andre Eglevsky. Dance performances at the VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mrs. John G. Hayes, Sr. Subject- Trustee/Museum business, money to the John G. Hayes Endowment Fund, etc. Dates- 11/49-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. J.G. Pollard and W. Rhoads. Subject- John Green Hayes Memorial Fund. Dates- 5/48 - 11/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter of appeal from VMFA to Hearst Foundation for financial assistance. Dates- 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Biographical data, press release and his presentation to the AAMD, newspaper clippings. Dates- 4/62 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lecturer for the Latin American Exhibition 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT: tour schedule, HEW grant proposal, \"A Cultural Program in the Dramatic Arts for Virginia High School Students\", newspaper clippings, postcards, reviews, project budget, financial support. Dates- 5/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Travel Itinerary, loans , VMT productions, collectors circle, LOAS (Loan-Own Art Service), search for prospective jurors, letter to Helen Hayes to address VMT, biographical data, gallery plans, invitations to preview Hogarth exhibition. Dates- 9/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Request for luncheon and agenda. Dates- 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison. Subject- Request for VHS to hold annual meeting. Dates- 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to Col. Hodges (Membership Chair). Subject- Trustee/Museum business, Hodges served as the Chairman of the VMFA Membership Committee, etc. Dates- 11/35-3/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA Bulletins: vol.26 no.3 and vol.27 no.6. Hogarth lecture to VMFA, itinerary, biographical data, Wm. Blake exhibition. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Candidate for Theatre Director 1957. Contains resume and letters to, from, and about him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, P. Davidson, and P. Rathbone. Subject- Exhibition: \"Treasures of Alexander\", request for loans, list of objects in connection with exhibition, installation design, theft of Nike Earring. Dates- 9/63 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Term as a Trustee and Fellow at VMFA and as a Trustee at Norfolk Museum, Exhibition: Treasures from the Norfolk Museum. Gifts and donations. Dates- 9/61 - 4/3 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Collectors circle, Fellows, Trustee, gifts and donation. His service as a Trustee at the Chrysler Museum. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information on state holidays. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and Gov. Holton. Subject- Proposal for a Bill to organize a citizens advisory committee to improve furnishings and interpretation of the Gov. Mansion. Statewide Building Code, Administrative Amendments 1/29/73, Sec. 873.5. List of participants and Museum conference notes to determine how Va. Museums can assist one another, Inauguration arrangements committee, rosters: House of Delegates, Senate and legislature. Essay- \"The Holton Years: A Summing Up 1970-1974\". Dates- 9/61 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and Reports from the Honors and Awards Committee and the Board of Trustees, 1948-56. Much of this concerns Mr. and Mrs. A.D. Williams, The Katherine Rhoads Fund and the Webster Rhoads Medal, and Arthur and Margaret Glasgow, letter regarding the Mary Samuel Davies Bright Memorial. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Arts and Humanities Commission, Pratt Estate, Cabell Foundation, Ford Foundation: VMT underwriting. Trustee interviews, gifts of appreciated property. Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper clippings, photographs. Dates- 10/8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and J.M. Brown. Subject- Parsons Fashion Show, slides, pamphlets, newspaper clippings. Dates- 8/63 - 7/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Seating arrangement. Dates- 11/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J. Sweeney and Lee Malone. Subject- \"Design In Scandinavia\", Cheek's remarks. General correspondence concerning museum loans and policy. Dates- 4/63 - 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Miss Nora Houston and T.C. Colt, Jr. Subject- biographical information, information about exhibitions she participated in, proposed acquisition of her work, etc. Dates- 4/36-2/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- U.S. House of Representatives, New York State. Correspondence concerning government support of the arts. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Copy of his speech given at the Architectural League Symposium 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Term as a Trustee, membership campaign, budget committee, newspaper clippings. Dates- 5/59 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Fellow, VMT, Exhibitions, Artmobile, long term loan of 18th C. Dec, Arts objects, Hogarth exhibition, contract bid for landscaping, North Wing. FILM: \"THE ART of THE CONSERVATOR\" Dates- 2/64 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Trustee, Fellow, gifts. Remarks concerning Fellows meeting, Draft of Executive Committee Meeting Minutes, 12/8/70. Official application form for AAM accreditation. Art Nouveau Collection, Council lecture and luncheon with draft of suggested remarks delivered by C. Humelsine. Dates- 1969 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Requests for catalogues, loans, exhibition announcement, proposal for an \"International Traveling Exhibition\", technical info on Ivisiglass. Dates- 4/45 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- RSVP's to auditorium inauguration, thank you notes to musicians used for the opening, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Innocenti and Webel (landscape architects) concerning VMFA grounds. Dates- 7/64 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison, L. Cheek, T. Colt and Mrs. Pollard. Subject- Requests for publications, general information regarding VMFA collections, exhibitions and museum operations. Dates- 10/35 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General information on exhibition installations.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains one brochure, 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- insurance against air raids and other war damage, correspondence with other museums about war risk insurance. Dates- 6/42 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, L. Cheek, Jr. and M.B. Christison (Assistant Dir. for Collections and Education). Subject- damage claims to art objects we lent and/or were on loan to the Museum. Dates- 11/49-11/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Samuels Collection [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Draft of the Constitution and By-Laws of the proposed Virginia History and Museums Federation. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- ICOM statement of mission, travel expense records, membership and financial statements, pamphlets, Minutes of Executive Committee 1/30/60, 5/25/65, Annual Report 1965, newsletter, pamphlets, etc. Dates- 1961 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Annual Reports, Statutes, guidelines for International Rules of National Committee, Museum Training Programs, Newsletters, Minutes of Annual Meetings, budget, membership, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Mrs. J. Pope (Pres. IEF) Subject- Invitation to become a member, statement of mission, list of officers, IEF Financial Report 12/31/72, Annual Report 12/1/72, NEA award, catalogue listings, list of traveling exhibitions 1966-72. Dates- 1966 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Anne Marie Pope. Subject- Lists of current and planned exhibitions, events schedules, minutes of annual meeting. Dates- 1973 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Article from \"Preservation News\", 1/71 vol., XI, no.1 and Sunday Supplement from New York Times. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown, P. Near, Phillip Johnson. Subject- P. Johnson's advise of design of the New Wing and as possible juror for Va. Biennial. Rotunda Club, Jamestown Festival, Robinson House, Hogarth Exhibition, Jr. League activities, and restoration of downtown Richmond. Photocopy of text from letter between Wm. Fitzhugh to Charles Carter 11/30/1796, pamphlets, donations, gifts. Dates- 12/55 - 12/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from W.S. Robertson. Subject- Letter of appointment to Executive Board. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 350th Anniversary. 1955-57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information on the Museum's contributions to the celebration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek to serve on advisory committee and certificate of award for his service, presentation of Pocahontas portrait for permanent display, \"Report From Sub-Committee, Jamestown Commission\", 10/30/57. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- photos of the \"Japanese Architecture\" exhibition, printed material for the exhibition, arrangements for bringing the Japanese Charge d'Affaires to VMFA, transcript of remarks made by Mr. Shima (Japanese Charge d'Affaires) at the opening preview, etc. Dates- 4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Itinerary and agenda for East Meadow High School of East Meadow L.I., New York. Dates- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown. P. Near, A.P. Jenkins. Subject- A.P. Jenkins collection, gifts and contributions, loans, Fisher rug collection, B. Barenson, Ash Lawn, Caligula statue, invitations, agendas etc. \"Art Now: New York\" vol.2 #10, University Galleries, 1970 (contains large color plates). Conceptual statement for Cabrillo Marine Museum. Dates- 8/54 - 9/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Jay W. Johns. Subject- Trustee/Museum business, gifts to Museum, information about an Evelyn Byrd portrait by a disputed artist (Kneller or Bridges), etc. Dates- 6/35-9/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- J. Johns service as a Trustee and Fellow, gifts and donations. Dates- 4/50 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- B. Johnson's (Conservator of L.A. County Museum) observations concerning the authenticity of a Veronese painting and his personal collection of pre- Columbian sculpture and Asian ceramics. Dates- 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and T. Catesby Jones. Subject- Jones' collection of modern paintings and sculptures, gifts to the Museum art and books, letter from Jean Lurcat, etc. Dates- 3/41-12/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- The loan of Mrs. Catesby's collection of French Modernists to the VMFA and gifts. Dates- 2/50 - 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from l. Cheek, R. Guest (Fellows, Chair) and W. Robertson. Subject- Her appointment as a Trustee and role as chair of the membership committee. Dates- 7/64 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- State Supervisor of Art, 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- purchase requests for photos. Dates- 3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to J.M. Brown. Subject- Agenda and letters of confirmation. Dates- 6/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Volunteers at the Museum, 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter of confirmation. Dates- 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Letters of recommendation, resumes, prospective jurors, exhibition: \"Ugliness in Virginia\", Robert E. Lee Memorial, Fellows, gifts, donations, pamphlets. Acquisitions: Artists, Duane Hanson and Stephen Posner. Dates- 4/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Karolik collection of American Painting, Artmobile and Collectors Circle. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Maxim Karolik. Subject- proposed lecture for exhibition \"The Karolik Collection\", printed material for exhibition, etc. Dates- 9/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Illumination exhibition for the American Federation of Arts: proposal, budget, exhibition news, advisory committee and Minutes of 1st Meeting 11/23/64. Dates- 1/65 - 2/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek as member of the Council for the Kennedy Center and Board of Trustees, bulletins, progress reports and newsletters and a letter from Jacqueline Kennedy dated 1/14/66. Dates- 2/59 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and H. Willett (Supt. of Rich. City Schools) Subject- Letter to F. Keppel (Asst. Sec. of HEW) concerning a Math and Science Center. Essay- \"Proposal For a Supplementary Mathematics and Science Center\". Dates- 11/65 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters of request and confirmation, menu and tour. Dates- 8/71 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Pamphlets: \"The Library - Documentation Project spring 70\" , \"The Urgency of Our Mission\" and \"Statement of Purpose Fall 1969\". Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J.G. Pollard, T. Colt, L. Cheek and Harry Brooks. Subject- Requests for publications, provenance of Italian Renaissance painting being considered for acquisition, loans, pamphlets and shipping invoices, etc. Dates- 2/46 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, T. Simmons (Knoll) and Florence Shu Knoll. Subject- Interior design and furnishings of the Members Suite, offices, restaurant and Library, Knoll Catalogue 1956, newspaper clippings. Dates- 2/49 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Portrait commission of L. and Mary Tyler Cheek and his exhibition at the Museum of the City of New York. Information about introduction to exhibition catalog. Dates- 1/63 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Parson's School of Design. Design consultant VMFA 1954-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- The creation of layouts of loan exhibitions and permanent displays, agendas, job description, newspaper clippings, biographical data, postcard, etc. Dates- 2/58 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mr. Koenig was a guest promotion director at the VMFA 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to contributors of memorial fund. Subject- Memorial established by the Theatre Associates of VMFA, sample of bookplate in his memory. Dates- 4/62 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Samuel H. Kress Foundation 1958-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence about bill and payments with Kuhn. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artmobile project for the Arkansas Arts Center, \"Let's Go, Reflections on the Art of Administrative Leadership\". Dates- 8/62 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Chapters/Affiliates, newsletters, Lectour broadcasts, newspaper clippings, invitations, Lawler Memorial Fund, Artmobile. Artists: Pietro Lazzari, Janice S. Lemen, John Gadsby Chapman, photograph. Dates- 5/58 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown and P. Near. Subject- Publication requests, gifts, contributions, collectors circle, Fellows, suggested bequest wording, Artmobile, loans, exhibition announcements, NEA questionnaire: \"Conservation in Museums- August 1971\", restoration and condition report of \"Battle of Yorktown\", Lami. Artists: Mario Dubsky and Eugene Berman. Gift and donations: \"La Sympathie\", Pettijean. Date- 11/62 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Port Sunlight, Chesire England.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and the VMFA Board of Trustees. Subject- To prevent the construction of the Valentine Museum's Latrobe Theatre. Dates- 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lecture by Cheek to the College Art Association 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to E. Cless (program Consult., U. of Minn.) Subject- U. of Minnesota Institute on Administration and Services in the Small Art Museum, program agenda, travel schedule, list of registrants for the seminar, report on the panel on museum publications, pamphlets, map, etc. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek to G.H. Holmes (Dean of U. of Pa.). Subject- Urban Criticism, experiences in traveling exhibitions on city planning, resolutions and solutions on urban problems. Biographical data on participants of conference, travel expenditures, agenda. Dates- 7/58 - 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Priscilla Crum to Prentiss Taylor. Subject- lecture by Taylor, Wednesday evening programs schedule 1948, proposed schedule 1947-8, etc. Dates- 9/47-1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and M.B. Christison. Subject- prospective speakers, films, etc. for programming. Dates- 10/48-12/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- schedules for Wednesday evening and musical programs. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lectures given by L. Cheek, Jury duty lists, consultations, invoices, expense records, agendas, pamphlets, magazine excerpts, Essay- \"The Place Of The Arts In Our American Culture\", by L. Cheek. Dates- 1953 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lectures given by various members of the VMFA staff. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from D. Nicholas. Subject- Procedure and policy concerning VMFA security.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Monthly newsletters on \"Reflections on the Art of Administrative Leadership\", L.H. Kurtz, publisher/editor. Dates- 9/62 - 11/64, 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown, P. Near C. Humelsine, F. Brandt and Wm. Gaines. Subject- Art Nouveau Fund: list of purchases, legal document of fund establishment. Artmobile and contemporary Art Purchase Fund. Dates- 5/67 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Possible sources for the purchase and restoration of the Alexander-Withrow House, Lexington, Va. Dates- 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- D. Liebes (color consultant and textile designer) on proposed text for her essay to appear in AIV and her lecture to be given at the VMFA on crafts and the creation of VMFA Craftsperson - residence. Dates- 4/63 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and E. H. Bushbeck (Kress Found.). Subject- Drawings and description of Dr. Reinhardt's gallery in Switzerland. Dates- 2/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and V. Gaskins (asst. to L. Cheek). subject- Planning of VMFA lighting facilities, \"Art Museum Lighting\", 2/59, excerpt from a journal of Electrical construction and Maintenance. Dates- 2/59 - 9/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposal of Library-Museum at Lincoln Center. Dates- 2/59 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ralph Linton Collection of African Sculpture. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Requests for loans of furnishings to other state properties. Dates- 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of loans under consideration, loans to ambassador residences in England and Australia. Photographs. Dates- 2/61 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and director of Louvre. Subject- Poussin exhibition at Louvre and VMFA loan of \"Achilles on Skyros\" and Delacroix exhibition, loan of \"Deliverance of Princess Olga\". Dates- 10/59 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lighting Technician, VMFA, 1953-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and C.B. Lusk. Subject- Lighting instruments and technical drawings. Essays- \"Lusklite as developed and used at the VMFA\" and  \"The Installation and Lighting of Exhibitions at VMFA\" Dates- 8/56 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.R. Duncan and Gordon Huff. Subject- Expansion of Lynchburg Arts Center to become an affiliate, loans for opening gala, suggested text for print media, schedule of events, Artmobile, Lynchburg Arts Center Executive officers. Introductions for L. Cheek and W. Robertson, travel itinerary. VMFA lecture series: Building For The Arts 1965-66, pamphlets. Dates- 5/62 - 7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposal for \"The National Arts Center of New York University at Washington Square\", Exhibition: \"Tastemakers\", based on R. Lynes Book. Official guest list for opening reception. Dates- 10/54 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, L. Cheek, P. Near and F. Haseltine. Subject- Membership, gifts, personnel references, loans, Jamestown Foundation, proposal for commission of sculpture in F\u0026amp;M Plaza. Acquisitions and gifts: Egyptian cups, Coptic sculpture, Bertoia drawing. Dates- 4/61 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Macbeth Galleries. Subject- loans for inaugural exhibition and general correspondence about proposed acquisitions from Macbeth galleries. Dates- 9/35-7/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Orders and correspondence for back issues of Bulletins and magazines, 1946-47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Alessandro Magnasco, Painting 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mailing and sign schedules, roster of names and institutions. Dates- 1960 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mailing and events schedules. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, P. Near, D. Isley (Norton Simon Collection). Subject- Press releases, shipping, installation, purchase invoice, info regarding owners of the other castings. Photographs and slides. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Paul Manship. Subject- designing the John Barton Payne medal. Dates- 9/36-10/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and W. Robertson. Subject- His Service as a Trustee, Fellow, and chair of Trustee Budget Committee. Biographical info, Artmobile, 25th Anniversary of VMFA, museum business, financial statements, Education In The Arts. Dates- 12/56 - 5/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Long Island Historical Society. Subject- Provenance, purchase through Glasglow Fund. Dates- 12/55 - 1/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Resume, photo, agenda, NEA grant request. Dates- 4/65 - 5/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- M. Baldwin Choir Program, Alumnae issue Bulletin concerning visit of Pres. Eisenhower. Invitations, Fine Arts Center, Woodrow Wilson Project. Dates- 2/56 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Julien Binford. Subject- Mary Washington Arts Center, invitations, VMT, loans of art works, newspaper clippings. Dates- 11/49 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Gifts to VMFA. Dates- 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mrs. William R. Massie. Subject- Trustee/Museum business, etc. Dates- 12/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecture: John Goldsmith Phillips, biographical data, press release and catalog list. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecturers: V. Isabelle Miller and Mrs. Yves Henry Buhler. Press release, publicity schedule and photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- floor plan, instructions for installation for exhibition \"Masterpieces of Chinese Art\", printed material for exhibition, thank you notes to lenders to the exhibition, etc. Dates-11/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Candidate for the Theatre Director Position. Contains resume and applications, letters of recommendation etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Director of Public Relations for 20th Century Fox. Speaker at the Museum 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Public Information Division VMFA. 1955-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Director of Vassar College Art Gallery, requests for publications, lecture. Term as curatorial research asst. at VMFA. Dates- 9/53 - 6/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Dedication of new Library, loans, invitations, VMT, Farewell gift to Mr. and Mrs. Cheeks with poem. Gifts, contributions, G. Melchers memorial. Dates- 2/60 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- General membership information, loans, press release, invoices, newspaper clippings, etc. Art Nouveau Collection. Letter to L. Marden (residence designed by Frank Lloyd Wright). List of Artists editions: prints and objects from Multiples Inc., NYC, price list and description. Artist: Phillip Lindsay, signature. Acquisitions: Monet, van der Helst and Rodin. Dates- 12/69 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and French and Co., Inc. Subject- pieces sold to and installed in the Museum, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposal to establish an Institute of Mediterranean Culture at U. of R. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Carroll L.V. Meeks. Subject- thank you notes for visit to New England personal friendly letters, etc. Dates- 4/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, Mrs. Pennell (Membership Secretary) and Mrs. Gari Melchers. Subject- VMFA members in Fredericksburg, postcards, gift to Museum , etc. Dates- 12/35-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Her service on the Executive Committee, Melchers Estate, budget, gift status of \"Dead Jockey\", E. Degas. Contributions, gifts, newspaper clippings, biographical data. Dates- 4/56 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt (Dayton Art Inst.) and Dr. Higgins (Chair of VMFA Board), J.M. Brown. Subject- \"Disposition of Mr. Gari Melcher's Estate Excerpted from Virginia Museum Minutes Books, No.4,5and6\" , prepared by A.W. Statnaker, Asst. Administrator 7/17/74. Resolution, re: \"Belmont As An Art Center And Museum\" and \"Opening Of The Belmont Facility To The Public\" , Executive committee Minutes. Dates- 5/74 - 11/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Melchers estate/bequest to the Museum, agenda and minutes of Gari Melchers Memorial Committee 5/56-10/56, report and proposals of that committee. Dates-5/56-10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- appointments to committee, general operation of Estate, suggested budget, list of Melcher paintings owned by VMFA, loans of art works, drawings/blueprints: G. Melchers Studio air conditioning system and proposed plaque for ashes of Mr. and Mrs. Melcher. \"Belmont Agency Agreement\", Bill to transfer Melchers Memorial from VMFA to Mary Washington college. Dates- 4/56 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- First Chairman of Fellows: 1st Annual Meeting and statement of purpose. Exhibitions: English Painting, French Portraits, Sport and Horse, Artmobile. Old Dominion Foundation and his membership on the Executive Committee, gifts, donations and contributions. Dates- 2/38 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His membership on the Board of Trustees, Fellows, Collectors Circle. Biographical info, loans of art works from his personal collection, donations and gifts to VMFA and the National Gallery, Artmobile, as a recipient of the Benjamin Franklin Award: statement of purpose, nomination form, list of contributions, newspaper clippings, photocopies of magazine articles, invitations , etc. Dates- 1965 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and W. Robertson. Subject- Collectors Circle, Fellows, term as VMFA Vice President. Press releases, newspaper clippings, contributions and gifts. Dates- 4/60 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison. Subject- Members lecture series. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Wm. Higgins, Jr. (Pres.) and C. Humelsine (Pres.) Subject- Draft of letter to membership regarding schedule of events etc. Dates- 9/71 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program where paintings from contemporary Virginia artists would be loaned (rented) to members to have in their homes. Members could also purchase the paintings. \"Designed to bring the work of Virginia artists into the homes of Virginia citizens.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Wm. Higgins. Subject- Monthly membership report summary, Chapters/Affiliates reciprocal membership program, letters of general correspondence to the membership. Dates- 4/70 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- minutes of the Membership Committee 1/48, 2/49 and a letter supporting the proposed theatre wing from Mrs. Wm. Trigg, Jr.(Civic Theatre Committee, Div. of Recreation, City of Richmond). Dates- 9/47-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Membership report, promotion, agenda, roster of committee members, minutes of committee meeting. Dates-8/72 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes of membership committee, elements of campaign to attract new members and move members to higher categories. Dates- 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Guided tours for prospective members, agendas, schedules, newspaper clippings, excerpt from Minutes of Executive Committee 12/14/72. Dates- 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Webster Rhoads (Pres. of Museum Board) and R.A.Velz (Administrator). Subject- list of new museum members, request form for membership, Membership Reports 1954-5 and 1955-6, list of membership privileges, etc. Dates- 11/55-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. W.A. Nones (Chair, Trustees), J.M. Brown and C. Humelsine. Subject- General membership information, schedule of events, calendar, pamphlets, etc. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- membership rosters of local organizations, copies of a cover letter soliciting members, etc. Dates- 1/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Survey results, years of membership, exhibit preference, age, attendance, annual contribution. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- planning stages for corporate memberships, proposed fees, privileges, etc., counsel from other US art museums, list of corporations to be approached about the idea, etc. Dates- 1946- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Corporate membership drives, presentation to J.C.'s, excerpt from Newsweek. Dates- 6/60 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison. Subject- Members art studio classes and lecture series. Dates- 6/54 - 9/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 6/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 9/54-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and R. Velz. Subject- memos regarding segregation and other policies at the Museum. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison, L. Cheek and R. Velz. Subject- Miscellaneous information concerning collections in general: treatment/condition reports, insurance, loans, installations, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- Miscellaneous museum operation: Artmobile, Art Lending Service, Virginia Artists, lists of objects on loan, exhibitions, damage reports of objects and gallery inspections, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- inter-office memorandums on various subjects. Dates- 12/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison, L. Cheek and H. Glasser. Subject- Exhibitions, Pratt Collection, gallery inspections and all manner of museum operations and programs. List of lost objects on loan to the Bon Air School for Girls. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- Inter-office memos concerning insurance valuations, loans, lectures, library, exhibitions and policy on filing acquisitions data and damage reports. Date- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Pamphlets published by the state Department of Mental Hygiene and Hospitals and the Mental Hygiene Society of Virginia. Dates- 1951-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and various staff at the Metropolitan Museum. Subject- museum practices, long-term loans of Egyptian art and artifacts, securing speakers, etc. Dates- 1/55-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J. Rorimer (Dir., MET) and A. Priest (Curator, MET). Subject- Damage to MET's \"Bacchus\", objects to purchase, loan requests. Acquistions and gifts: Tibetan Scroll; Coat of Japanese Mail. Dates- 11/69 - and/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Michael Jacobs Gallery. Subject- loan of painting (George Washington by Gilbert Stuart) for inaugural exhibition. Dates- 6/35-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Midwestern book competition for which Cheek served as a juror, competition judged in Richmond, lists of criteria and books, printed material for the competition, etc. Dates- 4/56-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Jo Mielziner. Subject- friendly letters, mention of possible Mielziner exhibition, etc. Dates- 12/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, list of stage designs available for purchase, his lecture to VMFA, schedules and agenda's, etc. Dates- 10/54 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Miller and Rhoads department store staff. Subject- showing VA artist work in store windows, borrowing supplies from the display department for the Museum (folding chairs, textiles), etc. Dates- 2/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and W.S. Rhoads. Subject- Nomination of Miller and Rhoads, Inc. for Esquire magazines 1st annual \"Business in the Arts\" award. Support of Artmobile II. Exhibition: \"Masterpieces in Millinery\", spring 1958. Preliminary outline of fashion costume requirements for VMT \"Lady In The Dark\". Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Speaker: Philip Adams. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. John M. Miller, Jr. Subject- Trustee/Museum business, Miller served as a member of the Membership Committee, etc. Dates- 6/35-7/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mr. J.G. Pollard, Jr. Subject- asking Mr. Milliken (Director of The Cleveland Museum of Art) for counseling on acquisitions, draft of an agreement where Milliken counsels the Museum staff about proposed acquisitions, etc. Dates- 3/58-3/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from B. Mills in his role as Asst. Administrator of Personnel. Subject- Records, applications, payroll, medical insurance, announcements of new employees and terminations. Dates- 9/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt and L. Cheek, Jr. and The Mint Museum staff. Subject- museum practices, loans, etc. Dates- 8/46-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- obtaining the motion picture for which the drawings in the exhibition \"Gil Wilson 'Moby Dick'\" were made. Dates- 12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- printed material for exhibition \"Modern German Art\", invitation to Mr.and Mrs. Alfred P. Jenkins for dinner and exhibition preview, (Mr.and Mrs. Jenkins owned the modern German art collection shown). Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Creation of James Monroe Bicentennial Commission. Dates- 8/57 - 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown between MAC. subject- Section 21-2 of the Richmond City Code: designation of Monument Avenue as an Historic District.  Minutes of meeting of MAC, 4/24/71 and 5/19/71.  Program Planning Task Force, editorial broadcast, roster of members, Articles of Incorporation, By-Laws, agendas, proposals and pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., and Mr. Charles Moore. Subject- Moore's application for the Director/Producer position in the Virginia Museum Theatre. Dates- 12/56-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data and his lecture tour to the VMFA. Dates- 4/53 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Georgia Watson Morgan. Dates- 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Search for candidates for public information supervisor, job requirements, resume, publicity agendas, public information schedules, Bulletin vol.20, no.3. Dates- 6/59 - 7/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Mulholland (magician), biographical data/pamphlet, his magic presentation to the Fellows and VMT. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, his address to VMFA membership concerning architectural history. Dates- 10/55 - 8/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Munn Last Will and Testament with list of objects bequeathed to VMFA. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and T. Colt. Subject- Mural competition for Virginia State Library entrance hall: selection process, general assembly commission of monument to Stonewall Jackson. Dates- 4/46 - 6/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Envelopes of photos and negatives of Pre-Columbian art objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Gallery attendance and educational groups. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for Oct. Bulletin 1954, copies of the following Members' Bulletins-vol.15, no.2 (10/54) and vol.13, no.3 (11/52). Dates-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison. Subject- working papers for Members' Bulletin Oct. 1955, VMFA calendar 10/55, etc. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for Oct. Bulletin 1955. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Design of annual Christmas cards by Virginia Artists: John Ballator, Charles Smith, John Canaday, Allan Jones, Ross Abrams, Julien Binford and Prentiss Taylor. Dates- 11/48 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns transportation for the Museum lecturers and guests 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, M. Christison and Mrs. Pollard. Subject- Inquiries from other institutions regarding museum operations, budget, services, corporate membership, Trustees, etc. Lists of purchases, Fellowship recipients. Dates- 1937 - 53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Arrival of Hollins and VCU students to work on specific projects for one month. Dates- 12/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt. Subject- Proposal and tentative plans, prospective filmmakers. Minutes of Executive Committee of Southern Educational Film Production Service. \"Motion Picture Production\": Study by H. Jeff Forbes and Associates regarding promotion of VMFA. Dates- 11/46 - 2/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Memos about various museum topics. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, V. D'Amico (Dir. MOMA), M. d' Haroncourt. Subject- Art education standards, exhibitions, loans, lectures, museum policy, juror search and Jamestown Commission. Dates- 11/55 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Head of Administrative Division), Mrs. J.G. Pollard and L. Cheek, Jr. Subject- suggested future organization of the institution, operating procedures throughout the building, etc. Dates-2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding the division of expenses between the theatre and the museum, 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Promotional literature on the VMFA. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Material deals with segregation policies at museum events. 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence pertaining to printing. Bulletin mock-ups and copies of the following bulletins: Vol.6, No.4,  Vol.7, No.'s 2and7. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper clippings and magazine articles. Photographs, press releases etc. 1955-57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposed budget groupings for VMFA, according to departmental divisions and table of organization. Dates- 1948 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Events, timetables, agendas, Robinson House, housekeeping, security, VMT. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Schedule of events, exhibitions, Robinson House. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Schedule of events, mailing schedules, spring agenda, Confederation Conference, Robinson House, VMT, gallery closings, Discovery Cruise: Land of Maya. Date- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Suggested talk by Pres. of Museum to guests at Safari Dinner in Medieval Hall. Dates- 1/22/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Travel package for travel to Asia, brochures, cultural travel tours. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Policy regarding loans of art works to other Museums, employment search, provenance of art objects, pamphlets, newspaper clippings, etc. Resolution: To order immediate safe return of German master works after Nazi occupation, signed by U.S. museum directors. Dates- 4/46 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Applicant search for various positions, invitations, announcements, exhibitions, etc. Press kit for the Milwaukee Art Center. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Peter Mooz. Subject- General correspondence on exhibitions, loan requests, museum business, job placement, magazine and newspaper clippings. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibitions, loans, policy. Dates- 12/60 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Schedule of music series and members of committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- schedule of program of recorded music, announcement of 6th artist evening 1/46, Museum Bulletin Vol.5, No.2, etc. Dates- 2/46-5/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Jerome Myers. Subject- acquisition of his painting: Street Scene, N.Y., his acceptance to the National Exhibition of American Art, N.Y., etc. Dates- 4/36-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown and P. Near. Subject- General correspondence to Trustees and membership, letters to Robert Neutra, exhibitions: Henry Moore, Sport and Horse. Agendas, travel itinerary, events and invitations. \"Encouragement of the Nations Arts\", an appeal to congress, and \"Proposed Federal Advisory Council on the Arts\", Hon. H. Alexander Smith, U.S. Government Printing office, Washington D.C., 3/26/57. Requests for employment, postcards, pamphlets and photographs. Artists: Jean Nikolic. Accessions and Gifts: \"Disasters of War\", Goya; \"Lore Fuller\", Raoul Francois Lanke; \"Dancing Girl With Tambourine\", A. Leonard; \"La Revre Blanche\", Toulouse Lautrec; Revere and John Andrew spoons and vase possibly made by Johannes Loetz Witwe. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Namuth's exhibit of photographs at the Brussels World's Fair, as a juror VMFA. List of Seventeen painters photographed by Namuth: Wm. Baziotes, J. Boynton, L. Calgagno, N. Carone, R. Diebenkorn, J. Ernst, S. Gechtoff, G. Hartigan, E. Kelly, W. Kienbusch, G. Mueller, K. Morris, B. Perlin, C. Marca-Relli, R. Motherwell, A. Reinhardt, L. Siegriest, with original notes by Namuth. Letter from J. Ernst with signature. Date 4/61 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Statement of purpose and future of NCA, Board of Directors, Members of Council, fellowships, program grant application. Essay- \"National Endowment For The Arts Before The House Appropriations Subcommittee On The Interior And Related Agencies Tuesday, March 14,1972\", statement by Nancy Hanks (Chair): \"New Dimensions For The Arts: 1971-1972\" Dates- 1970-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L Cheek. Subject- Bill: S. 2379, To provide for the establishment of National Council on the Arts and National Arts Foundation. \"Congressional Record: Proceedings and Debates of the 88th Congress\" Dates- 2/64 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Public-Law 85-874, S. 3335: charted by the 85th Congress to establish a bureau in the Smithsonian Institution devoted to the Performing Arts. \"Peaceful Use Of Creative Energy\": transcript of lecture given by Col. Corrin Strong at the Tri State Arts Conference 4/29/61; Report: \"The National Cultural Center Part Two: What Goes into the Center\" by Dr. Carelton Sprague Smith, 10/60. Minutes for the NCC Executive Board: 5/23/60 and 6/29/60 Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. cheek. Subject- VMFA Council sponsorship of a closed circuit telecast by NCC: \"An American Pageant Of The Arts\". Suggested text of publicity folder, invitations, Newsletter: \"Footlight\", vol.1 no.3.; \"For A Cultural Capital\", Eleanor Roosevelt, 1962, United Feature Syndicate, Inc. NCC, later to be named the \"Kennedy Center For Performing Arts\". Dates- 7/62 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exchange of ideas and experience with other institutions who use audiovisual tool to communicate with museum visitors. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters of appeal to serve on Virginia NEFTA committee, roster of members. VMFA appointed as the state agency for the administration of Federal matching funds; to aid in expanding the cultural horizons of a states and territories. \"Guidelines\" 1/67, NEA, Washington D.C.; \"National Foundation On The Arts And The Humanities, Question and Answers\", U.S. Government, Washington D.C., 1965. Dates- 1965 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Survey of membership, officers of VMFA, according to race, gender, age, position and time served. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz. Subject- Grant proposals, application, letters of support, proposal for a Regional Conservation Center, Soldiers Home, American Marine Painting, NEA statement of purpose, Museums A.S.A. Study, Museum Program guidelines, Smithsonian Puppet Theatre, Young Peoples Theatre Safari, \"American Painting 1974\" and newsletter from the Arts Reporting Service. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Financial assistance to Chamber Music Societies, season brochures, project grant application form for Va. Chamber Music Society. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Grants received by Arts/Cultural organizations in Virginia: guidelines, program committee members, agendas and minutes from the program sub- committee 3/7/68. NEFTA project recommendations for a regional conservation center. Dates- 6/76 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT survey, McLean Arts Center, guidelines for program grants. Senate Joint Resolution No. 67: to create a Virginia development study commission, bill 1483: National Foundation on the Arts and Humanities Act of 1965 and a report with guidelines for VMFA as the sole administrator of NEFTA matching grants. Study for Virginia Artist and Craftsman in regard to education and support. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Grant applications from Virginia Dance Society, VMFA, Confederation of Virginia Art Organizations and Budget proposals. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- State guidelines and general information, terms and conditions, NEA matching grant to begin statewide professional operation of VMT. Addresses of applicants for state grants, roster of Virginia NEFTA committee members. Dates- 2/66 - 6/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Regarding J.M. Brown's service on committee to evaluate grant applications. Valentine Museum NEA application, pamphlets. Date- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- arrangements for exhibition \"Designer-Craftsmen 1953\" presented in conjunction with the American Craftsmen's Educational Council, Inc., (ACEC), letters to jurors, etc. Dates- 9/52-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and National Gallery of Art. Subject- preview invitations, exchange publications, excerpts from Roosevelt Art Address (from dedication of National Gallery 3/41), loan request for VMFA inaugural exhibition, etc. Dates- 3/41-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- pamphlets and information about \"National Park and Recreation Week\" sponsored in Richmond 5/21-5/30, 1949. Dates- 4/49-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Geographical directory, \"Historic Preservation\" journal, vol.11, no.3, 1959 and Melchers Memorial. Dates- 1959 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Organization membership information form, questionnaire. NTHP certificate of associate membership 1971-73, employment placement and service pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Travel itineraries, objects for prospective traveling exhibitions, list of slides, forgeries and thefts. Accession and acquisition proposals. Dates- 1/61 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Conservation of objects/paintings, loans. Accessions committee meeting agenda, 10/69. Report on Authenticity of \"Marble Head of a Horse\", Heermaneck Ancient Iranian Collection. Exhibitors: The child and his World. Condition reports and repair estimates for tapestries. Photographs Dates- 12/69 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Sydney Lewis and Peter Mooz. Subject- Authenticity of Cycladic Harpist and 18th century American secretary. Provenances of various objects, conservation and treatment reports. Catalog: \"Arshille Gorky\" Dates- 1/74 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Sydney and Frances Lewis and Peter Mooz. Subject- Conservation/treatment reports, Artnian Collection of self-portraits. Conservation/treatment reports, Kent Independence Portfolio. List of Art Nouveau objects, damage reports, African Collection. Report of authenticity regarding the Cycladic \"Harpist\". Letter from Arnaldo Pomodoro regarding a base for \"Rotating Sphere\". Dates- 5/75 - 8/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Hours of operation, VMFA and other museums, attendance records, VMT, security, UNESCO newsletters 4/58 - 8/59, newspapers and magazine clippings, press releases. Dates- 7/59 - 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Cheek's annual N.Y. cocktail party: guest lists, arrangements, rosters of speakers to VMFA: 1951-52 and 1952-53. Dates- 1952 - 54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newsletter to Trustees concerning exhibitions and appointments to Executive Board, accessions, building, etc. Dates- 11/70 - 8/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Wm. Morrison (P.R. VMFA), F. Palmer (P.R. consultant), D. McCammond (P.R. Reynolds Metals). Subject- Public Relations of E. Newsom and Co. to conduct a study to determine the needs and potential of VMFA. Program organization, community relations, film, book press material, schedules of events, etc. Dates- 8/58 - 9/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- A survey targeting the needs, current and future of VMFA, with solutions/resolutions for every aspect of the museums' operation. Dates- 11/58 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. A. I. duPont and F. Palmer. Subject- Roster of members of Board of Trustees, letter of appeal for pledges, principal elements of Newsom Program. Dates- 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. A.I. duPont (chair, Ann. fund). Subject- Strategy to raise funds through the Trustees to finance the Newsom Public Relation Firm program for VMFA. Drafts of letters to Trustees, progress report, minutes of 25th Anniversary Committee, 9/8/59. Dates- 12/58 - 7/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- all manner of museum operation: security, policy and procedure, personnel policy. operating budget and VMT. Diagrams of electronic console panel. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Museum business, construction and installation project schedules, budget, Equal Opportunity regulations, design contract for the Council shop, salary scales. Dates- 10/73 - 1/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Museum business, Conservation Lab, Fine Arts insurance coverage, budgets, Cabell Foundation gift. \"Report on the Freedom of Information Act\". Depreciation of \"Death of Regulus\", Salvatore Rosa. Dates- 12/74 - 7/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Museum business and operations, budget, contractual agreement between VMFA and Harwicke Associates, Inc. for North Wing project. \"Organization of the Virginia State Government\". Dates- 10/75 - 11/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- UVA architect and his membership in the Collectors Circle. Dates- 1/63 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- General assistant to VMT, employment recommendation. Dates- 6/55 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Possible acquisitions from his gallery. Dates- 10/62 - 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L Cheek and J.M. Brown. Subject- Loans, exhibitions, VMT, Rotunda Club, Fellows. Accessions and gifts: \"Metamorphosis\", Grillo. Dates- 4/57 - 6/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- correspondence with individuals, institutions and companies beginning with the letter \"O\". Dates- 4/43-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, photo and job description/responsibilities as program director for \"Art Column\". Dates- 3/61 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- As a scenic design consultant, his lecture to VMT in connection with the Exhibition: \"Design For The Theatre\". College Drama Festival, biographical data. Dates- 1/60 - 2/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, P. Mellon, E. Brooks Jr., and M. Bush. Subject- Financial support: Artmobile II, building grant and museum survey to expand visitors use to VMFA. Photographs, newspaper clippings. \"A Study in Modern Giving: The Old Dominion Foundation\", reprinted from articles in Richmond News Leader. \"Bollenger Series\", catalogue of special edition books. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, M. Bush (Asst. to Pres. of ODF) and P. Mellon (Pres. of ODF). Subject- Financial assistance to VMFA, Artmobile II, collectors circle, and Old Dominion Foundation statement of purpose. Dates- 9/58 11/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Dan Olney. Subject- receiving a Senior Fellowship 1941/2, outline for a lecture, etc. Dates- 10/40-6/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Governor Thomas B. Stanley. Subject- opening of the new wing. Dates- 8/54-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- opening and reception for Governor Stanley. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- invitations and replies to the opening of the Members' Suite, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Opera Society's first season. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- miscellaneous printed materials for the Museum, etc. Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- tickets to the Museum for State Lions' Club convention, etc. Dates- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- ideas/proposals for \"Members' Room\", suggested operating procedures, menus, pricing, etc., cost estimates, \"Refreshment Room Statement\" 1955, etc. Dates- 1/55-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre operations proposals, list of staff, their duties and salaries, etc. Dates- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- lists of statewide business, civic, commercial and other organizations, invitation list for General Assembly/Governor's reception, etc. Dates- 1953-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Orloff's (Chief-interpreter of U.N.) lecture to VMFA concerning the Faberge Collection, Biographical data. Dates- 11/49 - 4/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters of inquiry to firms specializing in plaster and wood ornament, catalogs. Dates- 5/54 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator). Subject- museum practices especially concerning finances of other US art museums, etc. Dates- 4/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, P. Near and J.M. Brown. Subject- Artmobile, VMT, Collector's Circle, Fellows, Chapters/Affiliates, biographical data, campaign to restore the Jefferson Hotel, list of exhibitions from 1942 - 45.  International Exhibition Foundation, the appointment of John A. Pope (Director of Freer Gallery) as advisor/consultant to VMFA for expansion of Far Eastern Collections.  Acquisitions and gifts. Artists: Nell Blaine, Howard Kanovitz, Otto Piene. Gifts: Masson lithograph, Irving Penn photo and 15 Russian 19th century paintings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Painter's lecture on \"Armor and Medieval Man\" to compliment the \"Arms and Armor\" exhibition, biographical data. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. Nelson Parker. Subject- announcement of Board meetings, etc., Date- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Appeal to Virginia Senate and legislature regarding sufficient museum parking utilizing land belonging to the UDC (United Daughters of the Confederacy). Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Gift of Egyptian Gallery and English Decorative Arts Gallery. VMT, and her membership as a Fellow and in collector's circle. Dates- 4/61 - 10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. J.G. Pollard and Executive Committee of the Board. Subject- proposal and planning stages of conferring an honorary degree of \"Patron of the Arts\". Dates- 6/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject-housing J.B. Payne books in library of the College of William and Mary in exchange for paintings from their collection of art for display at the Museum. Dates- 1/50-4/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek's service on the Board of Trustees and on the Advisory Board of the School of the Arts. Minutes of U. of P. Executive Board, 4/8/60, 4/29/63, 4/26/65 and Annual Report of Graduate School of Fine Arts, 3/64, 5/65. Dates- 10/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek as chair of Fine Arts Committee. Subject- Letter to P. Coombs on his appointment as Assistant Secretary of State for Educational and Cultural affairs, UNESCO newsletter, Nubian archeological sites. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and A. Frankfurter (editor, Art News). Subject- VMFA general collection, list of gifts and purchases, 1955-67, scope of exhibitions, dates, publications, colorplates. List of VMFA Board of Trustees, 1962, Gobelin Tapestries. Dates- 1953 -64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Articles based on exhibitions and general collection of VMFA, VMT, invoices, newspaper clippings, pamphlets, reviews, newsletters. NEA museum programs, research education grants. Dates- 1967 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Articles of VMFA: \"A Spring View of Virginia Museum\", 10/56, Wm. Lacey, Editor; \"Art isn't Caviar at this Museum\", Sidney Shalett, 7/57, The Diplomat. Dates- 10/56 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Articles and editorials pertaining to VMFA: Newsweek, Time, Art Gallery, Antiques, Museum News , etc. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Harper's Bazaar, New York Magazine, Apollo, reviews. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Editors V. Dabney (RTD) and J. Kilpatrik (RNL). Subject- Artmobile, reviews of VMT and media coverage by print journalists, newspaper clippings. Essay- \"The Arts In The Sixties\", by L. Cheek. Dates- 11/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and F. Stewart and C. Jones. Subject- Exhibitions: \"Form Givers\", Sport and Horse\" and Mellon Collection. Dates- 2/60 - 12/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains applications, resumes and information on candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and M. Christison. Subject- Job descriptions. Dates- 1953 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison, P. Near and L. Cheek. Subject- Fellowships: list of recipients from 1940 - 1955. Prospective employees and VMT. Dates- 12/54 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- personnel rules and procedures of VMFA and the Commonwealth of VA, mandates from the Governor's office, additional personnel and pay increase requests, Roster Cards (listings of all employees and pay rates), etc. Dates- 8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr., and R.A.Velz (Administrator). Subject- listing of division duties, proposed salary ranges, information about hiring an artmobile driver-curator, etc. Dates- 2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Photographs of L. Cheek, Mrs. J.G. Pollard, theatre staff, Ariel Ballif, Vincent Bowditch, Arthur Ballet, R. Velz and P. Near. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Personnel matters. Dates- 4/66 - 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains general information about the system and ratings for museum employees. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains applications, resumes and information about candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains applications, resumes and information about the candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains applications, resumes and information about various candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from the Governor's personnel survey staff. Subject- employment questionnaire, job descriptions (buildings and grounds staff, watchman, registrar, secretary, etc.), etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and the Governor's personnel survey staff. Subject- employment questionnaire, VMFA tentative classification of positions (3/37). Dates- 10/36-4/37.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Fiske Kimball (Director of Penn. Museum of Art). Subject- loans for VMFA inaugural exhibition, exchange publications, counsel on museum practices, etc. Dates- 5/35-5/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and R.L. Dickinson (Hanover Bank). Subject- The Library of Philanthropic Information at the Hanover Bank, New York City. Dates- 11/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- E. Turpin Phillips, a Virginia citizen and his request to see proposal plans for expanded museum parking onto UDC property. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Consultant for VMFA acquisitions. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Duncan Phillips (Director, Phillips Memorial Gallery). Subject- request for loans to VMFA inaugural exhibition, etc. Dates- 9/35-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Installation of VMFA photography department, list of equipment and supplies, employment of staff photographer: Gordon Burns. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- listing of entries to the \"19th Photographic Salon\" exhibition, schedule for jurors, etc. Dates- 3/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator) and L. Cheek, Jr. Subject- purchase requests for photographs. Dates- 10/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Ivan Dimitri as Director of Photography in the Fine Arts at the Brussels World's Fair, his service on the advisory committee, list of photographs given to VMFA from the PFA exhibition. Directors of America's Finest Museums: portraits, credo of on art and their personal selection of photographs from the PFA archives was the subject of the World's Fair exhibition. Etching by Levon West (Ivan Dimitri). Dates- 12/59 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Atillio Piccirilli. Subject- biographical information, loans of work to the Museum, etc. Dates- 7/35-1/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- viewing the feature film 'Pictura \"An Adventure in Art\"', invitations, contributions, listing of attendance, etc. Dates- 2/52-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Herman Starr (Pres. Pictura Corp). Subject- A group of films devoted to the fine arts. Presentation of \"Leonardo da Vinci\" at Richmond's Lee Art Theatre and film on Goya to accompany exhibition. Dates- 1/51 - 3/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Gallery dinner, menu, agenda, program for event. Dates- 8/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- policies on use of meeting rooms and studios, special food service, interpretative services, scheduling programs, etc. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence to and from him when he was President of the Board of Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- the VMFA inaugural exhibition, Museum events, finances, Museum Board business and bequests/gifts to the Museum, etc. Dates- 1/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- Museum operations, investments, finances and gifts to the Museum, etc. Dates- 1/37-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His service as President, Trustee and membership in the Collector's Circle. Biographical data, museum business: operating fund, Artmobile, Newsom Report, 25th Anniversary fund, Melchers Estate transfer, gifts, contributions, Fellowship Fund. Exhibitions: Sport and Horse. Dates- 9/53 - 2/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His service as a Trustee, VMFA Resident Craftsman Program. Dates- 2/64 - 2/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Design of members Bulletin, records retirement, museum business. Dates- 1949, 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Museum business, Pratt installation, museum courses and equipment. Dates- 9/54 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Gift of \"Rotating Sphere\" from Lloyd Noland. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- As founder and director of the Barter Theatre, proposed plans for Theatre Virginia and NEA funding. Dates- 4/67 - 5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., and Mr. David Payne. Subject- correspondence with Payne about arranging the exhibition \"Portraits by David Payne\", biographical information, letter from Phillip Johnson, etc. Dates- 5/51-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J.G. Pollard, L. Cheek, Priscilla Crum (Curator, Asst. in Education). Subject- Gallery representing portrait artists, biographical data on various artists and portrait of Senator Byrd. Photographs. Dates- 6/45 - 11/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Statewide tribute to John Powell (a native of Virginia) and the presentation of his \"Symphony in A\". Date- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Correspondence with Pratt as a trustee. Discuss first Easter egg exhibition in 1949 and Hammer visit. Letter from Schaffer (A La Vieille Russie) in 1949 about lending some pieces for an exhibition. Includes a few letters from Mrs. Pratt before she died, about a Faberge table donation in 1942 and donating \"Twice Seven\" to the Library. Establishment of the Fellowship fund, including letter from Twombly as early recipient. Pratt Collection: insurance estimates and installation. Gift of funds to purchase the first Artmobile from Pratt and Miller and Rhoads. Dates- 7/40 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artmobile, Fellowship committee, underwriting of Faberge booklet, terra-cotta statue of \"Diana\" from the Pratt Estate given to VMFA, newspaper clippings. \"A Plan For Fellowships For Virginia Artists\" as suggested by Mr. John Lee Pratt. Minutes from Fellowship Committee meeting, 6/12/42. Dates- 12/49 - 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. John Lee Pratt. Subject- Trustee/Museum business, VMFA fellowship updates, etc. Dates- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown. Subject- Biographical data, fellowship recipients: Cynthia Morehead Smith, Paul Steuke, June Chapman, Fred Bonds, Richard Kevorkian and Reginia Perry. Pratt Collection: catalogue, except from forward by L. Cheek, questionnaire regarding Mrs. Pratt's initial contact/purchase sources for Russian Jewels, list of objects bequeathed by Pratt Estate. Dates- 1/57 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposals and cost estimates for Healy's Sitters exhibition and Pratt collection catalogues. Dates- 4/50-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, L. Cheek, Armand Hammer (Hammer Gallery) and Alexander Schaffer (La Vielle Russie Gallery). Subject- Legal claim against the Romanoff Family assets via the Pratt Collection of Russian Jewels. Possible lawsuit by A.G. Sharkey, President and Trustee of Marine Transport Service Corporation in NY who had judgment against Czar Nicholas Romanoff since 1918. Hammer and Schaffer dismissed it. Details of Pratt bequest, provenance of objects, announcement of bequest with sample of text to be used in pamphlet. Excerpt from \"Twice Seven\", by H. C. Bainbridge, E. P. Dutton and Co. Inc., 1934 (reference to Faberge Jewels owned by Armand Hammer). Dates- 8/47 - 10/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Mrs. J. G. Pollard. Subject- Installation, list of items on exhibition, security and transportation. List of objects in the collection of Mrs. Joseph E. Davies and pamphlets. Correspondence regarding various showings around the state - Roanoke in 1950 and Norfolk in 1951. Dates- 1/49 - 4/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from C. Humelsine. Subject- General correspondence to the VMFA membership, calendar of events, museum news. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to the media from the Museum. Subject- news releases about Museum events. Dates- 10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News releases about Museum events. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- positions and duties for volunteers and guards during an undisclosed preview. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Gov. Price. Subject-proposed salary increases, Board meeting announcements, nomination of Colt to select work to go to the Annual Exhibition of American Art 1938. Dates- 1/38-11/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- On the occasion of his being collector of the Year 1964, his cookbook including photographs of VMFA and the menu from the Collectors Gala, newspaper clippings. Gifts: Lachaise drawing. Dates- 6/63 - 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, P. Grigaut and P. Near. Subject- A. Priest as Metropolitan Curator of Far Eastern Art, his service as a consultant to VMFA (1963-69) in the formation of the Asian collections. Correspondence on examination and provenance of works in the VMFA. Minutes of Executive Committee, 9/9/63, 12/8/64, minutes of Accessions Committee Meeting, 9/9/63. \"A Buddhist Paradise\", A. Priest, AIV, 1963. Newspaper clippings, postcards, etc. Dates- 1963 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator) and Mrs. J.G. Pollard. Subject- printing schedules for 1956, miscellaneous print job specs, etc. Dates- 11/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- asking local corporations to fund the printing of school guide sheets for the Museum. Dates- 8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence pertaining to bulletin layouts, copies of Members Bulletin Vol.9, No.'s 1and7 and copies of Christmas cards 1948-9, etc.. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Museum publications: Contemporary Paintings 1946, Program Season of 1947-8, The VMFA Annual Report 1947-8, Virginia Art 1947 and Museum Bulletins: Vol.3 No.'s 1,2,4,6and9,  Vol.4, No.'s 4and5,  Vol.7, No.'s1,2,3,4,5,6,7,8and9,  Vol.1, No.8,  Vol.8, No.'s 2,3,4,5,6,7,8and9,  Vol.9, No.'s 1,4,5,6and8. Dates-9/42-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- securing a speaker (Robert T. Paine) for the exhibition \"Prints by Hiroshige\", thank you note to Mr. Paine, etc. Dates- 11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposed programming for the Museum. Dates- 2/49-9/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and lecturers. Subject- proposed program/events and exhibition schedule, biographical information on lecturers, etc. Dates- 10/50-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Peter Mooz. Subject- Artmobile schedules, Three-Days-In-March, members travel, grants, pamphlets. \"Proposal For The Development Of American Writers And Resources With Special Emphasis On The Production Of New Forms Of Drama Created Especially For Television\"; The Mark Report\": A survey and evaluation of VMFA statewide programs. Dates- 1974 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Safaris, Artist-in-Residence, lectures. Film series: \"The Romantic Rebellion\", exhibitions, COVA events, agendas, Professional Workshop. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt and Nancy Durett. Subject- violin recital 4/47. Dates- 4/46-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- memos to determine dates for the Trust Fund Orchestra to perform at the Museum. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- VMFA educational services, VMT and all manner of print and broadcast media promotion. Exhibitions, publicity schedules, press releases and newspaper clippings. Dates- 9/50 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General invitation to groups to participate in VMT. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Prospective givers: foundations and individuals. Date- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newsom Report: \"A Report To The Virginia Museum Of Fine Arts\", 11/19/58, Earl Newsom and Company, a study of VMFA public relations, information and communications responsibilities. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Various outside publications mentioning VMFA, 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Design and production of AIV: promotion, organization, printing schedules, contributors , etc. Catalogue \"Architectural Drawings in Virginia\" and \"\"Confessions of an Ex- Elitist\", M.W. Fishwick, Popular Culture Association, American Studies Institute, Lincoln University. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- photo of the Museum and of the \"Brussels Tapestry Exhibition\" 1949, Museum publications: VMFA Catalog of Paintings 1938, The Collection of Catesby T. Jones, 1948, and the following VMFA Members' Bulletins: vol.10, no.'s 1-5, etc. Dates- 1938-1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- copies of the following publications: The VMFA Annual Report 1947-8, The T. Catesby Jones Collection, Contemporary American Paintings 1948, William James Hubbard, Three Virginians Behl, Hunter, Blaine, Portrait Panorama, Program Season of 1947-8 and Member's Bulletins: Vol.1, No.8, Vol.8, No.'s 2,3,4,5,6,7,8and9. Dates- 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release, jurors. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing the Parsons gift of the Egyptian Gallery and 25th Anniversary Fund Committee. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitations to the VMFA's 25th birthday celebration for the affiliates, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- press release announcing loan of Chinese wine vessel. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 25th Anniversary projects, press release: message from the President (Robertson). Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Appeal to Trustees for contributions to the Drama Festival.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: 28th Virginia Artists Rotating Exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing a network of local art centers and museums affiliated with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- VMFA as regional jury center for the national exhibition \"Designer-Craftsmen-U.S.A.\", news releases, information on obtaining a jury and a speaker, etc. Dates-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Va. Architects, Photographers and Designers, seminar for Historical Administrators, VMT and Virginia Composers Concert. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release and photo for first issue of AIV. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release on Arts in Virginia. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains a cover letter for a mailing, no date. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing 25th anniversary events, exhibitions, VMT, etc. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing conclusion of 25th anniversary celebration with the presentation of awards to Colonial Williamsburg, The Old Dominion Foundation, sculptor: Carl Milles, architect: Eero Saarinen, collector\" Robert Lehman and Naval designer: William F. Gibbs for their outstanding contributions to the Arts in Virginia. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- obtaining the exhibition \"Built in the U.S.A.\", presenting programs related to the exhibition, biographical information on Phillip Johnson, etc. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- photo of \"Little Triton\" fountain for the Bulletin, copy of Members' Bulletin vol.15, no.1(9/54), etc. Dates- 9/53-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for Members' Bulletin. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for Members' Bulletin, calendar of Museum events. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Vol. 13 no.'s 1-9, 1952-5/53; vol. 17 no. 8, 2/57; vol. f19 no.'s 7 and 8, 3/59 - 4/59. Biographical data on Iren Marik, pianist, and reviews. Dates-1952 -53, 1957, 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Vol. 20 no.'s 4-6, 12/59-2/60 Dates- 12/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press releases: Tours organized through Virginia Federation of Women's Clubs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press releases: season opening production and call for volunteers. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Extended performances of VMT's \"Carousel\". Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Bus trips to VMT. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- listing of certificate winners and a gallery guide from the \"Virginia Artists\" exhibition 1955. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Portions of VMT concert to be broadcast with commentary and explanations of technique. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Programs and photographs. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Information regarding the Museum's chapters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- photographs [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing festival with guest artists: Helen Tamris and Daniel Nagrin. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Critic, Stella Adler, Speaker: Alfred de Liagre. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- TV news film of highlights of the College Drama Festival, script, telegrams and surveys to Virginia TV stations concerning air time and usage. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Announcement of individual participants announcing their attendance in the festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- loan of Cone collection from the Baltimore Museum of Art to VMFA for an exhibition, a catalogue of the Cone collection, news release about the  bequest of the collection to the Baltimore Museum of Art, etc. Dates- 10/49-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Public information schedule for exhibition: \"The Architecture of Skidmore, Owings and Merrill\", \"The Little International\". Artmobile public and information schedule and Bulletin, vol. 19, no.2 10/58. Essay- The Little International Exhibition\", Fred Olsen, 4/57. Dates- 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Publicity stills, reviews and biographical data.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- list of designers proposed for inclusion in the exhibition \"Design for Theatre\", tentative list, etc. Dates- 8/52-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing loan of painting by Winslow Homer. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Evaluation of the Discovery Television Series sponsored by the San Francisco Museum of Art. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Statewide Press Release announcing fellowships 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press Releases regarding fellowships 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Publicity stills and posters. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Buckminister Fuller. Subject- Exhibition of the work of 13 leading architects, opening lecture given by Buckminister Fuller, list of catalog content, gallery talk, press release, invitations and biographical data. Photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing formation of a fundraising committee for the 25th anniversary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibitions: \"Drawings From Five Centuries From The Cooper Union Museum\", \"Hans Moller\", \"Is Photography An Art\", \"Sport and the Horse\", \"25th Anniversary\". Parsons gift of the Egyptian Gallery, Chamber Music Society, Virginia Artists, evening hours, speakers/lecturers, Virginia Art Alliance, state services, Fellowships, Search for a female collector with a collection of Imperial robes. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press releases announcing exhibition of contemporary glass. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibitions: Skidmore, Owings and Merrill (AIA for Reynolds Building), publicity, progress report on exhibition arrangements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Ivan Dmitri. Subject- Symposium on photography conducted by Dmitri with a panel composed of: A. Hyatt Mayor (MET) and Hilton Kramer (Arts Magazine). List of paintings and photograph comparisons and press releases. Photographs. Dates- 10/59 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Status report of the Broadway production. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information about the loan exhibition. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Speaker 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: History of Lynchburg Center published in the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Brief film on masterpieces of American silver, script and outline for the 25th anniversary program. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains press releases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains layout and planning for the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Photographs of the moving of art objects, installations, physical plant and behind-the-scene workshops and people.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Editorial Writers, agenda, and guest speakers, exhibitions, events, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Ms. Nemone Balfour. Subject- a ballad concert given by Balfour sponsored by the Museum, new release, printed material, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: R. Neutra lecture in coordinate with his VMFA exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- invitations to grand opening of the 10/54 VMFA addition. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing the Norfolk Museum affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Bus tour and photograph. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Photographs of galleries. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing gift of marble statue \"Dawn of Young Womanhood\", Oronzio Maldrelli from Miller and Rhoads Department Store. Press releases from: Mariners Museum, National Gallery, Henry Ford Museum, Walker Art Center and the MOMA. Dates- 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: purchase of Patronship by Richmond businesses for season tickets to VMT.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- radio transcripts and publicity releases. Dates- 1948-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases. Dates- 8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases, publicity schedule 6/26- 7/22. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases. Dates- 5/56-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases. Dates- 4/51-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases. Dates- 1952- 5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press releases for various museum events: theatre, exhibitions, films, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Affiliation announcement of the Roanoke Fine Arts Center 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing the loan of \"The Ecstasy of St. Francis\" by Carravaggio. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- press release announcing the acquisition of a rare funeral monument from 2nd century B.C. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Advertising copy and selection of artist to draw a cartoon. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- press release for VMT promotion. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing special schedule to accommodate bus trip from out of town. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Publicity schedule and advertising copy. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- scheduling a speaker (Bernard V. Bothmer) to coincide with the exhibition \"Smith's Egypt\", photo and biographical information about Bothmer, etc. Dates- 6/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition and Publication information regarding \"Sport and the Horse.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- News Releases regarding newspaper column 1960. The column was carried in 50 Virginia newspapers as 42 weekly articles by Cheek. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Syndicated column written by Cheek as part of a promotion for the Museum's 25th anniversary. Contains a mailing schedule for the column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Return forms from newspaper publishers regarding column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Promotional letter for newspaper column. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Broadcast script for performance promotion. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from G. Friddell (Public Information Director). Subject- controversial nature of the \"American Painting 1950\" exhibition, James Johnson Sweeney was the juror for this exhibition, Sweeney biographical information, News Releases, exchange/gift publications of the catalogue to this exhibition, etc. Dates- 1/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Broadcast script promoting 25th anniversary year. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 25th Anniversary, broadcast scripts, VMT and list of Virginia and Washington TV stations. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Broadcast promotion script. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- press release with performance information  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release for VMT promotion. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release concerning a 25th birthday year magazine, the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Tours arranged by Virginia Federation of Women's Club in 6 Virginia towns to see VMT production of \"Carousel\" Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Reviews of show. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Introductory speeches. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"The Tempest\", \"The Mad Woman of Challiot\", \"Berkeley Square\", \"I Remember Moma\", \"Noah\", \"Blind Alley\", \"The Devils Disciple\", \"High Tor\", \"Oh Wilderness\", \"Private Lives\", \"The Petrified Forest\" and \"Victoria Regina\". Dates- 1955 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Assigned design projects and newspaper clippings. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- National broadcasts focusing on topics of national interest, VMFA requests for financial assistance to host a \"Meeting\", pamphlets and photograph. Dates- 1953 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Aubrey Bodine and Gordon Bunshaft, biographical data, Competition promotion, preliminary text for official entry forms, press release. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- list of pieces included in the \"Virginia Artists 1953\" exhibition, list of purchases made from the exhibition, information on the jury and on purchase prizes, letter from Jacques Lipchitz, etc. Dates- 12/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information about the exhibitions and photographs of the artists and their works. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Jurors: Richard Lippold, Isabel Bishop and Perry Rathbone. Press release announcing event.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Eighteenth annual exhibition held at the Museum and sponsored by the Camera Club of Richmond. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- fountains that flank the Museum's front entrance. Dates- 9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- photo of conservation lab, gift and exhibition of the Williams collection of art at VMFA, announcements to and articles in major art publications about the gift of the Williams collection. Dates- 3/52-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition \"The American Cartoon\", original American cartoons from the collection of Mr. Art Wood, invitations and R.S.V.P.'s to exhibition preview, photos of some of the pieces of cartoon art, etc. Dates- 5/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Wm. Quillan Jr. (President of Randolph Macon Women's College). Subject- Loan of Randolph-Macon's collection of paintings. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Isobel C. Lee (Steuben Glass). Subject- Loan from Queen Elizabeth, installation, lighting and press-release. Dates- 7/10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artmobile, AAM, Jamestown Foundation, loans, Accession, gifts, biographical data and resumes. Exhibition: Randolph Macon Collection. Letter from Richard Rogers to lecture to VMT, Reston Foundation: Minutes of the Executive Meeting, 9/12/60. Dates- 9/60, 5/62 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown and P. Near. Subject- Loans, contributions, acquisitions, exhibitions and Africa Gallery. Dates- 1/68 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to W. C. Cottrell (Elec. Corp.). Subject- Proposal and technical information for Audio-Guide radio-lecture, pamphlets, blueprints/plans of galleries. Dates- 5/72 - 8/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, Priscilla Crum and M. Christison. Subject- Broadcast of Biennial Jury, notes from WMBG broadcast, 12/6/46, \"What Is Your Art Museum\", participants: Priscilla Crum (Curator of Education), Edward Davis III (Curator of Decorative Arts) Mrs. J.G. Pollard and T. Colt. Notes from WLEE broadcast, \"Know Your Museum\": a weekly series with guests from the local arts community and \"For Parents Only\": a children's radio program. Dates- 2/46 - 11/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- radio talk shows and transcripts. Dates- 12/37-9/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr.and Mrs. Robert C. Randolph. Subject- the loan of a portrait of Wm. Henry Harrison by Rembrandt Peale to the Museum for the inaugural exhibition and an additional later loan. Dates- 9/35-11/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, L. Cheek and Mary F. Williams. Subject- The service of Beatrice Von Keller as VMFA Acting Director during Colt's military duty. Biographical data, Randolph-Macon Collection including the acquisition of the Bliss Collection. Dates- 7/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Hours of operation, policy, menu. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and the Frank Rehn Gallery. Subject- loan of paintings to inaugural exhibition of VMFA and later proposed acquisitions from the Frank Rehn Gallery, etc. Dates- 9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt. Subject- Artist from West Virginia: application and recommendation for a Rosenwald Fellowship by T. Colt. Dates- 6/49 - 10/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Rennolds' service as a Trustee and entertainment committee. List of objects in the home of her mother, Mrs. John Kerr Branch, that may be of use to the VMFA. Dates- 1/53 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Policy and requests for rental of museum meeting rooms. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposal for state/federal funding for the creation of the \"Latrobe Theatre\" (never built), a professional theatre organization. The design of the Theatre was based on plans by the 19th century architect Latrobe. \"The Virginia Museum Theatre\", statement of facts in relation to charges appearing in the Richmond Times - Dispatch, 10/13/66. Subject- 8/65 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of requests and general correspondence. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison, Edward Kallop and L. Cheek. Subject- Inquiries concerning specific artists, objects, valuations, conservation/restoration, etc. Dates- 6/56 - 6/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek served on the Board of the Reston Foundation Community Program, includes roster of board members. Dates- 11/10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to the Executive Director of the Reston Fund. Subject- L. Cheek's membership on the Board, and proposals for development of the Reston Community, low-cost housing, maps, agendas, Reston architects, Minutes of Annual Meeting- Reston Community Foundation,12/15/64, 4/25/65, 11/12/67, 4/8/68. Dates- 6/65 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- VMFA membership and letter of condolences to the Reynolds family. Dates-10/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. cheek. Subject- R. J. Reynolds service as Chair of VMFA promotion and development committee. suggested organization agenda for the meeting of the Public Relations Development Committee, to further the advancement of VMFA. Contributions, invitations and photographs. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"R.S. Reynolds Memorial Award\", awarded annually to the architect or group of architects who make the most significant contribution to the use of aluminum, aesthetically or structurally, in the building field. Theodore Rozak chosen to commission the first sculpture. Dates- 5/58 - 11/6 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Miss Katherine Rhoads. Subject- a bequest to the Museum. Dates- 5/35-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from G. Martin (Secretary of VMFA). Subject- Rhoads Medal awarded to persons who have made a notable contribution to Art in Virginia; list of recipient, excerpts from the Minutes of the Executive Board, 5/25/69/. Biographical data on Concetta Scaravaglione, designer of medal. Medal awarded to Walter Spencer Robertson. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence to and from Rhoads as Vice-president Board of Trustees. Dates- 1934-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Contributions to a purchase fund in his memory. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, L. Cheek, Mrs. J.G. Pollard and P. Mellon. Subject- Museum business, exhibitions. Pratt Estate, John Barton Payne Endowment, Resolutions in memory of Judge Payne, resignation of Colt, Fellowships. List of employees and job descriptions. List of Benefactors, Patrons and Life members, Board of Trustees, Rockefeller Foundation, segregation, contributions, gifts and accessions, including Mellon. Dates- 11/40 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, W. Robertson, Mrs. J.G. Pollard and W.S. Rhoads. Subject- General letter to membership from the President (W.S. Rhoads), Webster S. Rhoads Medal, Artmobile III and South Wing. Dates- 1951 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- General Museum Business, VMT, policy regarding expense accounts and museum entertaining. Dates- 5/57 - 11/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitation list, invoice for cocktail party honoring W.S. Rhoads. Dates- 5/8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Westwood Winfree (Pres. RAA). Subject- Winfree's participation in the Virginia Rotating Exhibition and other events. Requests for restructuring of jurying procedure. \"Reasons For Suggesting A State-Wide Artists Study Committee To Be Sponsored By The Virginia Museum Of Fine Arts\". Dates- 2/56 - 9/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Richmond Chamber Music Society programming seasons: 1950-1, 1951-2, 1952-3, 1953-4 and 1954-5, membership rosters 1951-2 and 1954-5, etc. Dates- 10/50-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed policy for relations between VMFA and Richmond Chamber Music Society (conducting events there), listing of Society members, etc. Dates- 1/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- To increase Jaycees interest and support of VMFA. List of member organizations. Certificate to L. Cheek as a member of the \"Civil War Centennial Committee\", Minutes from the \"Society of Architectural Historians,1/30/58. The presentation of the \"Distinguished Service Award\" to L. Cheek. Dates- 11/60 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Disturbances in area of Westmoreland Place (Cheek residence), Cheek's Anniversary Party. Presentation of Canal Locks to Mayor M.M. Crowe. Dates- 2/64 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Field trips taken to the museum by schools throughout the state, 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Broadening cultural horizons in Richmond, proposal for Civic Center in downtown Richmond and the necessary steps for improvement of downtown, editorials, newspaper clippings. \"Plight Of Museums Is Very Real\", L.J. Ahlander, 11/25/65, Washington Post, \"Activities Center Study For The City Of Richmond\", Wm. A. Briggs A.I.A. and B.R. Johns A.I.A., Associated Architects, 8/1/64, \"Modern Living\", 11/6/64, Time and \"Are Most cities Too Ugly To Save\", 11/30/64, U.S. News and World Report, Inc. Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains financial statements for the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- proposed relationship of The Richmond Film Society with the Museum (use of Museum facilities), Film Society programs 1951-2, 1952-3, 1953-4, 1954-5 and 1955-6, etc. Dates- 6/50-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters of compliment to editors and journalists of Virginia periodicals regarding VMFA. Dates- 7/58 - 19/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Priscilla Crum, T. Colt, L. Cheek and M. Christison, Theresa Pollack, H.H. Hibbs and Mrs. J.G. Pollard. Subject- Exhibitions and musical programs. Dates- 9/45 - 11/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, J. Schaeffer (General Manager, RSL) Subject- Opening performance and concert dates. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Gala opening event of Artmobile. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and L. Willock (Exec, Dir.). Subject- Renewal of Affiliate members. Dates- 1961 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Charter proposal for a Roanoke museum and minutes from the Roanoke Fine Arts Committee. Dates- 12/47 - 9/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Special building committee, draft of letters from Affiliates/Chapters in support of VMFA expansion to be sent to the House Appropriations Committee , members of the Senate and members of the State Finance Committee. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and E. Will (Pres.). Subject- Purchase of \"St. John the Baptist\", Rodin, in memory of W.S. Robertson. Dates-2/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artmobile proposal, museum business, exhibitions: \"George Stevens Makes A Film\". Fellows organizing campaign, selected list of paintings in VMFA permanent collection. Rosters: Members of commission of State Capital and Outlays and Means of Financing; VMFA Executive Officers and committee's. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter from the President to the membership (W. Robertson), grant proposal for North Wing architectural plans.  List of objects needed for VMFA collections.  Rejection of the north facade by the Arts Commission.  Schedule of events, newspaper clippings.  \"Connoisseur's Comments\", guided VMFA tours narrated by world-famed collectors, critics and curators.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- letter of interest in erecting a monument to Bill Robinson. Dates- 12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Rockefellers' membership in the Fellows and their subsequent donation to aid in the Drama Development program. Dates- 1955 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Charles Fahs (Dir. Rockefeller Foundation), W.S. Rhoads. Subject- Proposal for the formation of VMT with initial funding from the Foundation, \"Charter for the Rockefeller Foundation\": Statement of purpose and methods of operation. Dates- 1/50-12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt and Roman Bronze Works Inc. Subject- casting busts of Gov. Pollard and Judge Payne and casting other figurative groups. Dates- 9/35-1/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter of authentication. Dates- 4/60 - 8/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Addresses made by F.D. Roosevelt upon the opening of the Museum of Modern Art. Dates- 6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Matilda McCord Roper (Mrs. George W. Roper). Subject- donations. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, expansion of VMFA print collection, The Alverthorpe Collection, loans of prints. Dates- 8/65 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA as recipient of a rose garden by the Garden of the Patriots. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- M. Ross as VMFA advisor, on retainer, for Byzantine and Medieval acquisitions. the Heeramanecks and Hunt Collections. Dates- 9/65 - 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data and brief history of Rothschild family. List of paintings in VMFA from Rothschild Collection. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Text and pamphlet for the opening of the Melchers Room. Photographs. Dates- 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Edward B. Rowan. Subject- mural competition for post offices in Petersburg, Hopewell and Richmond. Colt acted as chairman for a regional committee to carry out this competition for the Procurement Division, Public Works Branch of the Treasury Department, etc. Dates- 3/30. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- securing a speaker (Mr. Everett Parker Lesley, Jr.), obtaining a transparency from Time magazine of one of the Museum's eggs, etc. Dates- 3/53-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- General correspondence to Trustees regarding Museum business and events. Photographs and slides. Date- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- General correspondence regarding loans, acquisitions and invitations. Dates- 1/62 - 11/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Eero Saarinen. Subject- Aline Saarinen broadcast on the VMT Shakespeare Preview. Drawing. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition: \"Master Drawings\", with lecture by Paul Sachs. Theft of Degas drawing on loan to VMFA from the Fogg. List of London and Paris art dealers. Dates- 5/51 - 6/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- letters from other U.S. Art Museums about staff salaries and Curator's Report activities from the 1st season 1/16-5/24 1936. Dates- 1936- 7/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Requests for purchase of cases from the Greek Gold exhibition. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Form letters: members, advertisements, donors, other institutions regarding loans, lectures and publication requests, etc. Dates- 1967 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Samuels gift of building for the Front Royal Library. Loan and cleaning of \"View Near Oxford\" by Richard Wilson. Dates- 4/52 - 9/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- 10th Miller and Rhoads Women's Forum; invitation to Philip Johnson to serve as a speaker. Biographical data on James Parton and Max Abromovitz. Dates- 8/51 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Hans van Weeren-Griek. and Concetta Scaravaglione. Subject- exhibition of her work and insurance of a piece that was damaged. Dates- 9/40-7/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Events and mailing schedules. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Events and mailing schedules, Paul Taylor Dance Tour, Safari-Dinner, agendas, etc. Dates- 7/70 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Appraisal of an agate cup belonging to Mrs. Paul Mellon as a work of art, for the Customs Commissioner. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- war-time high school art exhibition held at Miller and Rhoads department store, list of hostess for this event. Dates- 1943-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Invitations and general correspondence regarding the opening's of new art centers/buildings of various institutions, anniversary celebration, National Presentation Broadcast of Artmobile. Dates- 9/60 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.G. Pollard. Subject- Loan of items in his Collection to VMFA and his service as Vice-President. Exhibitions: American Contemporary Prints and Sport and Horse. Melcher Estate, accessions and acquisitions, list of gifts to VMFA. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Scott, Horner and Mason, Inc. Investment Securities in Lynchburg, VA. Subject- possible investments by VMFA, financing the new wing and the possibility of matching a Public Works Administration grant. Dates- 5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Seay collection of Decorative Objects, list of objects in Seay home. Dates- 1/39 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper clippings and letters to and from Leslie Cheek. Dates- 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Service reports on traveling exhibits. Dates- 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence about slide loans. Dates- 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Museum Services. Correspondence regarding loans 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Houdon statue of Washington on loan to VMFA, insurance valuation. Seymour's lecture on \"Houdon in America\" and panel discussion on contemporary sculpture. Opinions on dating and provenance of VMFA objects. Dates- 5/50 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Shalett's articles on the VMFA for the \"Saturday Evening Post\" and \"The Diplomat\" Dates- 8/56 - 10/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, letters of invitation to VMFA events, College Drama Festival. Melchers Estate: \"The Last Supper\", newspaper clippings and postcards. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Virginia Film Society, Dance Tour, VMT: job descriptions, Table of Organization, staff hours, Theatre Associates and Annual Theatre Train. Date- 4/66 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Agenda and events for Entertainment Committee, loan of Col. Anderson bequest items. Dates- 1/59 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and E. Shiflet (Sec. of Education). Subject- budget, museum business, financial profile, role of office of Education and pamphlets. Executive Order #20 and #21: Reassignment of VMFA to the Office of Education. Dates- 8/72 - 12/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Dealer in antique English silver and his gift to VMFA of a silver teapot. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT, juror search, biographical data, exhibition catalogues, loans of art work, accessions, gifts and general museum business. Dates- 1956 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- General correspondence, exhibitions, requests for publications, pamphlets, invitations, exhibition catalogues, A.D. and W.C. Williams Trust Fund. Photographs. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- paperwork authorizing R.A.Velz and W.J. Rhodes to sign vouchers and checks, list of Virginia Museum Theatre expenditures 1956-7. Dates- 2/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Blank stationary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- excerpts from Virginia Architecture exhibition catalogue, miscellaneous correspondence about catalogue,  etc. Dates- 11/58-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- compliments on exhibition \"Architecture in Virginia\", thank you notes to the Museum about exchange/gift publications of exhibition catalogue-Architecture in Virginia 1776-1958: The Old Dominion's Twelve Best Buildings, etc. Dates- 9/58-4/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- biographical information on various 20th century architects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- G. Smith (architect, writer and photographer), biographical data, and his collection of Travel Posters. Newspaper and magazine clippings, invitations. Application for Fulbright grant. Dates- 2/52 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Her membership on Executive Board, donation and contributions. Dates- 5/51 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mrs. Marrow Stuart Smith, Virginia artist, correspondence with museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of alumnae in Virginia. Dates- 9/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, M. Christison, and Mrs. J.A. Pope (International Traveling Exhibition Service). Subject- Exhibition: \"Swedish Textiles Today\": catalogue, pamphlet. Brussels World's Fair, U.S. Pavilion. Catalogue of Traveling Exhibitions for 1961-62. Dates- 4/53 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- S.A.H Directors meeting in Richmond, formation and organization of a Virginia chapter: agendas, lists of prospective members, directors of S.A.H., minutes from S.A.H. meeting. Dates- 12/52 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Meeting agendas, Architects Virginia Tour, preservation of the National Capitol, Shirley Plantation, landmarks in danger. Proposal to coordinate the activities of the SAH with AIA and the National Trust for Historic Preservation in the field of Historic Buildings Preservation. SAH: Minutes of Executive Board, 10/26/57, 5/17/58, 10/18/58, Treasurers Report, 1/58-4/58, Newsletters. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lists: Fellows, Staff and Board of Trustees. Invoices, receipts and newspaper clippings. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Dinner schedule, agenda and pamphlet. Dates- 5/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Confirmation for Dinner event and agenda. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Fall meeting to be held at VMFA, conference agenda, mailing list and pamphlets. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Meeting agendas, events schedules, attendance rosters, officers, newsletters, registration forms. Report of SEMC '72 meeting, \"SEMC Notes\", no. 1, 1974 and no.1, 1975. Dates- 1972 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- printed material for exhibition \"Southern Exposures\", the following essays: \"Coming of Age of Photography\", \"Down the First Century of Photography with George and Heutis Cook\", \"Concerning the Cook Collection and Its Recovery of the Epos of the Attic\", etc.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Williamsburg International Assembly Speakers, biographical data: Edward Downes, Charles Seymor, Harris Prior and Arthur Drexler. Dates- 1951 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Wm. Gaines. Subject- Biographical data of speakers: C.V. Donovan and Joseph Curtis Sloane. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- printed material for the opening for prospective members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Safari Theatre Dinners, loan exhibition previews, maintenance. Dates- 1967 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Essay- \"The Art Museum As A Community Center\", by L. Cheek. Pamphlets, newspaper and magazine clippings of other museum programs. Date- 1961 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- early interest and planning of the exhibition \"Sport and the Horse\", etc. Dates- 5/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Frederick Robinson (Dir., SMFA). Subject- SMFA exhibition of Virginia Artists. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibitions, security, general operations and museum business. Employee policy, regulations, salaries, etc. Dates- 1962 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- General Museum operation, exhibitions, publicity evaluation, landscaping of Confederate Chapel, loan exhibition previews. Dates- 1963 - 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Employee policy/regulations, programs division, collection divisions, staff information and table of organization for Theatre Arts Committee. Newspaper clippings and salaries. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Suggested structure of staff organization and salary scales. Dates- 2/54 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA By-Laws 1958 and 1959, income sources, proposed improved operations plan. Salary information from the Smithsonian Institution. Job description for Assistant Administrator. Date 1959 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Head of Collections Division and Education Supervisor, Program Division. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Business meeting and reception regarding architectural improvements, gifts and loans to the State Department reception rooms. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- reception for General Assembly Wives. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Service reports for loans of exhibits, films and slides. Dates- 1951-1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for information regarding circulating visual materials 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Non-member requests for exhibitions 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Non-member requests for exhibitions 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Non-member Requests for gallery visits and lectures 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Out of state inquiries about Museum services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Out of state inquiries about Museum services 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of prospective organizations for using extension services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for circulating visual materials and exhibitions 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General Correspondence Traveling Exhibitions 1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information on the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains statement for addenda to the Governor's report concerning the VMFA.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mr. Saul Steinberg. Subject- exhibition of Steinberg's work and lecture by Steinberg, etc. Dates- 8/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Opening of new auditorium, purchase of pianos and price lists. Program for the Chamber Music Society, newsletters from Steinway and Co. , 4/55-6/55. Dates- 4/55 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Philip N. Stern, Chairman of the Art Commission, Commonwealth of Virginia. Subject- Art Commission meetings, funds for museum equipment, funding from the Public Works Administration, architectural exhibition, etc. Dates- 7/35-10/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Steuben correspondence with the VMFA, 1938-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Ten Talents In the American Theatre\", Ed. David Stevens; \"Theatre For Art's Sake\" by L. Cheek. Proposal to the Rockefeller Foundation for financial support of VMT. Dates- 12/49 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and P. Near. Subject- Her gift of \"La Signora in Biege\", Lazzaro Donati. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, preliminary design program for South Wing Addition, letters to other museums regarding design, security and general building functions. Dates- 1948-49, 1962-63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Jas. N. Trevillian (Secretary). Subject- Conductor of the New York Philharmonic Orchestra, concert at the VMFA and program. Dates- 1947 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA and Gordon E. Strause, 1935-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Strause and various Museum staff. Subject- exhibition of his collection at the Museum, written complaints by Mr. Strause, Strause is named 1st honorary benefactor of the Museum by the Board of Trustees. Dates- 3/36-5/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J. G. Pollard, T. Colt and L. Cheek. Subject- Lewis S. Strauss, founder of the Albert Einstein Award (for achievement in Natural Sciences). Chairman of the Atomic Energy Commission, his service on the VMFA Finance and Membership committees. Letter of Henry Anderson regarding discussion with Paul Mellon and VMFA expansion potential. Newspaper and magazines clippings, Artmobile, gifts and contributions. Dates- 1945 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Fellows: theatre Orientation, general meetings, prospective Fellows, report of the Fellows 5/3/67. Date- 1965-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- As a Trustee and member of the development committee. Contributions. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Mr. William A. Stuart. Subject- Trustee/Museum business, etc. Dates- 7/51-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Julia Sully to the Museum. Subject- Virginia Art Index. Dates- 1935-48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and J. McGee (Sunrise, Pres.). Subject- \"Sunrise\", Charleston Cultural complex, budget analysis, roster of Executive Board, Annual Report, 1971, pamphlets. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J.G. Pollard, T. Colt and L. Cheek. Subject- Early correspondence concerning museum services, statement of purpose, Pratt Bequest, exhibitions and requests for publications. Dates- 7/45 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- General correspondence, request for publications, employment, Fellows, Russian Loan Bill, gifts, contributions, biographical data. Dates- 6/56 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Museum business, loans of art works, list of objects for long term loan, zoning ordinance. Paul Tishman Collection, Troubs Collection of Russian miniatures. Provenance of St. John the Baptist, Rodin. Pamphlets, brochures and press releases. Dates- 2/70 - 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. J.G. Pollard, M. Christison, John Canaday and Maurice Bonds. Subject- Informal discussion series on art, artists and technique. Topics: Lithography, sculpture, restoration, art history etc. Includes biographical data on lecturers and exhibitions. Excerpt from \"American Silversmiths and Their Marks II\", by Stephen G.C. Ensko. Dates- 9/48 - 3/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding Mrs. A.I. duPont's gift of tapestries to the VMFA and a subsequent exhibition, 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding taxes on honorariums, admissions and rental space, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA series of weekly TV programs, list of suggested topics, program guests, resource information from other Institutions, film rentals, television presentation of the 25th Anniversary and minutes of the Mayor's Committee on Educational Television, 11/11/53. Dates- 3/54 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison. Subject- The development of a public television station to be shared by educational institutions. TV question and answer scripts and newspaper clippings. Dates- 1/49 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper and magazine clippings. Dates- 1961-62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Salary scales, job openings at VMT, applicants, referrals, biographical data, financial statements, staff tors and guest speakers. Dates- 3/58 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Morton Thalhimer. Subject- Biographical data, production, general theatre administration and Ford Foundation Fellowship Grant. Dates- 5/58 - 7/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Basil Langton. Subject- Langton's service as VMT guest director of \"The Tempest\", in celebration of the Jamestown Festival; program and procurement of professional actors. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Wm. Thalhimer Jr. Subject- Exhibit: \"Habiliments for Heroines\" underwritten by Thalhimers, VMT: \"Lady in the Dark\", Lorren Aldrich Collection. Catalogue: \"The Helena Rubenstein, Princess Gourelli Collection\", Deluca, Editore Roma, June 1953. Dates- 11/51 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His service as a Trustee and Chair of the Theatre Arts Committee on theatre and Television, museum business, salary scales, general operation of VMT, budget, income, newspaper clippings. Contributions and gifts. Dates- 6/52 - 3/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Underwriting of Mediterranean court, plants and flowers. Gift of Sandwich glass. Dates- 5/55 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Thayer's service as special assistant to the Secretary of State for Cultural Affairs. Biographical data, UNESCO, ICOM, International traveling Exhibitions, placement of American works of art in United States Embassies. Dates- 5/59 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Committee Minutes 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Committee minutes, agendas and programs, box office grosses etc. Letter from Paul Mellon. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- Establishment of a theatre Collection by Louise Branch of drawings, scenery and costumes. Dates- 2/59 - 3/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Morton Thalhimer. Subject- Proposal for costume ball. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- Morale and general organization of the VMT Associates, proposed speakers, newsletter and roster of VMT Associates. Dates- 4/57 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and William Morrison. Subject- taped readings by Henry Fonda, Lee Remick and Olivia deHavilland on the anniversary celebration. Reviews and letters to other film stars. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Safari-Dinner agenda and setup. Dates- 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Reviews, gift of Dan River Mills fabrics for costumes. Programs: \"Streetcar Named Desire\", \"School For Wives\", \"Camelot\" and \"The Odd Couple\". Dates- 1967 - 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- reviews, letters of compliment. Program: \"the Royal Hunt of the Sun\" Dates- 1968 -69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program and staff hours. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Report of Acoustical Analysis for Auditorium of Virginia Museum Theatre\" Dates- 9/1950 and 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Review, performance production. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Theatre-designer: salary and letters of recommendation. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMT, Dance, Film and Chamber Music Societies: financial statements, salaries, budgets, production costs, income records, purchase of stage equipment and suggested future of organization. Dates- 2/54 - 12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- bus tours from Virginia towns for Theatre evenings, sponsors by Virginia Federation of Women's Clubs, newspaper clippings. \"The Virginia Club Woman\", vol. XXXII no. I 8/55. Dates- 1/59 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Chairman of Yale Drama Dept., his service as consultant to VMT, budget suggestions for proposed VMT, various drama activities, playbill, budgets from other University Drama departments. Dates- 1/56 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Program, letters of disagreement between directors and actors. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- The first annual event, critic and counselors: Virginia Freeman, Meriam Rosen, Dan Wagoner, Patricia Wityle. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Valerie Gettis as guest speaker/artist. Dates- 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Invitations to college Presidents. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Alan Schnieder, Speaker: Jo Mielziner. The 1st College Drama Festival, guest lists and exhibition of Jo Mielziner's theatre designs. Newsletter. Dates- 8/56 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Harold Clurman, Speaker: Norris Houghton. Events schedule and program. Dates- 4/57 - 2/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Norris Houghton, Speaker: John Gassner. Event agenda/program, brochures. Dates- 4/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Henry Hewes, Speaker: Marc Connelly, reception, production procedure, etc. Newsletter 2/60 Dates- 10/59 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Stella Adler and Speaker: Alfred de Ligre, Jr. Event schedule, festival speaker, program, biographical data, reviews. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Event agenda, scheduling, program and newspaper clippings. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Robert Lewis, Speaker: Edward Albee. Event agenda/program, brochure, pamphlet, etc. Dates- 10/56 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Original drama by John C. Collison, VMT Premiere. \"New Play in Virginia\", Wm. Morrison, Encore vol.6 ,no.5 Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and L. Cheek. Subject- Reorganization of Museum Theatre 1972-73, budget and summary of proposals. Additions to VMFA statutes and By-Laws. Theatre Committee annual Report 6/30/67. Dates- 5/67 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Contributions, minutes of Theatre Patron Campaign Committee. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- theatre Arts Committee Executive Meeting minutes 6/30/70 and 7/6/70, Rosters for various Executive committee's of VMFA. Reviews and pamphlets. Dates- 9/69 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- HEW grant to produce and circulate throughout Virginia a play during 67-68 season, suggested dramas. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibitions: \"Gibson Collection of Contemporary Italian Art\", \"Contemporary Japanese Art\", \"Ten Reynolds Sculptures\". Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, A.H. Ballet and Robert Telford. Subject- General VMT business, schedule of events, scenic design, reviews, performance, staff policy/procedure, ticket prices, season subscriptions, etc. Dates- 1955 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- College Drama Festival, Dance Society and Chamber Music Society. Performance programs, events schedules, guest director contract, pamphlets and contributions. Dates- 1959 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- General Theatre Business, contractual agreements, events schedules, Richmond Film Society, College Drama Festival, financial statements, theatre reviews and job applicants. Dates- 5/61 - 9/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- theatre openings, job descriptions, applicants, hours. Dates- 12/62 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT, Vignettes tour, general estimate of costs, Drama, Dance and Music programs.  \"Virginia Report For State Arts Agency Individual Projects July 1, 1966- June 30,1967\" and \"Performing Arts in Virginia Education\" an introductory survey. Dates- 1966 -68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Budgets, financial summary, events schedules, newsletters, etc. Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Season events, programming, budget and revenue, newsletters, list of season subscribers and press kit for the Mummers Theatre, Oklahoma City, Oklahoma. \"Constitution of the Virginia Museum Theatre Associates\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Theatre business, budgets, salaries, production schedules, invitations, program design, contracts, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letters to and from VMT subscribers, program for \"Purlie\". Proposals for summer season productions, opening night telegrams. Dates- 1974 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Operating expense appropriation, \"VMT Sound System Report\", and synopsis of No Title play of the life of Lord Byron by Romulus Linney (later titled \"Childe Byron\"). Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Reviews. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Keith Fowler. Subject- Reviews, production calendar and letters of compliments. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Event underwritten by the Weeden Foundation. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter of invitation, remarks after preview. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Programs. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Payment for use of two geese. Program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Financial report and program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Program, reviews, letters of complaint from theatre patrons regarding play content. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Program, search for guest director. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Review, program and editorials. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Letters of complaint and approval from theatre patrons. Dates- 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- List of series underwriters, proposal for music lecture series conducted by Dr. John White. Dates- 10/58 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Patron financial support and proposal for a Sunday lecture series: \" The Eager Listener\". Dates- 9/59 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Harpist: Nicanor Zableta, brochures of concert series sponsored by other museums and galleries. Dates- 1/50 - 1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Program Dates- 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Morton Thalhimer. Subject- General letters to theatre subscribers, brief outline of the five scheduled plays and descriptions of the major characters. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Playbills, magazine and newspaper clippings of performances in theatres other than VMT. Dates- 12/54 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Reviews and programs for \"Separate Tables\", \"The Skin Of Your Teeth\", \"Ondine\", \"Kiss Me Kate\" and \"The Kids\". Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- Rehearsal schedules, invitations, programs: \"Life With Mother\", \"The Limbo Kid\", \"Pygmalian\" and \"The Brothers Karamazov\". Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Reviews, letter/telegrams of compliment. Programs: \"Teahouse of the August Moon\", \"The Woman from Colchis\", \"Hall of Mirrors\", \"Caesar and Cleopatra\" and \"The Most Happy Fella\". Dates- 1962 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Reviews, letters and telegrams of compliment. Program: \"A Thousand Clowns\". Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Robert Telford. Subject- Reviews, letters/telegrams of compliment. Programs: \"The Admiral Crichton\", \"Hedda Gabler\". \"Tartuffe\" and \"No Time For Sergeants\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Reviews, letters/telegrams of compliment. Programs: \"The Comedy of Errors\", \"The Visit\" and \"Fanny\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters/telegrams of compliment. Programs: \"Androcles and The Lion\", \"The Miracle Worker\". Contributions from Dan River Mills. Photographs. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Reviews, letters/telegrams of compliment, opening night gala, Safari Theatre/Dinners. Programs: \"The Glass Menagerie\", \"Once In A Lifetime\", \"Julius Caesar\", \"Blithe Spirit\" and \"Three Penny Opera\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Reviews and Letters/telegrams of compliment. Programs: \"Charley's Aunt\", \"The Sorrows of Frederick The Great\", \"Uncle Vanya\", \"Twelfth Night, On What You Will\" and \"the Man Who Lost the River\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Timetable, production schedules, Safari theatre Dinners, programs and reviews. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters to former subscribers seeking financial assistance for the upcoming season. Photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program and letter/telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- VMFA By- Laws 1972, Minutes of Theatre Arts Committee 10/21/71, agendas, budget and cost estimates. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Programming, policy for relations to the VMFA, contractual agreements, events schedules, promotion plans and financial statements, programs and brochures. Executive board meetings: 7/57, 11/57, 2/58, 4/58, 5/58. Dates- 4/56 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters and contributions from Chamber Music Society Patrons. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposal for the formation of the Dance Society, guest list, officers, policy regarding the Dance Society's relationship to the VMFA. Minutes of Executive Board, 5/11/56, 6/12/57, 7/57, 12/57. Receipt and attendance records, contributions, programs, pamphlets and guest performers. Dates- 5/56 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters and contributions from patrons of Dance Society. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Rockefeller grant to the museum to develop theatre and a program in drama, 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Kay Rockefeller. Subject- Traveling exhibition troupe for children's theatre: financial statement and invitations. Dates- 9/57 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program for \"Rossum's Universal Robots\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT designated seating area according to race, and letters of protest in support of Dr. Mary Elizabeth Johnson. Dates- 1/56 - 5/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program and letters/telegrams of compliment. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Robert Telford and Morton Thalhimer. Subject- Attendance records, publicity program and biographical data. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters and telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Cost estimate, theatre needs and improvements. Date- 12/56 - 7/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Sample survey, list of Chapter/Affiliate communities. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Morton Thalhimer and Robert Telford. Subject- Theatre Arts Committee agenda, VMT proposals for: director, administrator, production and apprentices. Date- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"The Gallows Man\", limited performance schedule, invitations. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Events program, list of composers represented. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cancelled, considered distasteful for VMT audience. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program and letters, telegrams of compliment. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- AAMD conference, theft of Roualt drawing from Toronto Gallery, requests for publications. Dates- 5/50 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains reports concerning slide sets and film strips distributed throughout the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Fashion designer to lecture on fashion from 1752 to 1952 for the exhibition: \"Habiliments for Heroines\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- New York World's Fair, newspaper and magazine clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His election to VMFA Board, museum business. Dates- 5/51 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper and magazine clippings of Governor Tuck. Dates- 12/49 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, Tunnard's expertise on city planning. Virginia Town Case Study Group: \"Problems of Planning in the Small Southern Town\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Severance of affiliation to the VMFA. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artist for VMFA Christmas card. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from F. Brandt and Wm. Gaines. Subject- Seminar to expose students and teachers to the function and operation of VMFA, agenda, program procedure, etc. Dates- 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Questionnaire from UCLA Graduate School of Management and the College of Fine Arts on the priorities related to the Arts, pamphlets. \"U.S. Information Agency-Its Task in World Affairs\". Date- 4/51 - 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Annual Meeting Minutes, travel authorization, organization news, pamphlets, general UNESCO business. Dates- 10/46 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Conference topic: Aid to South American Museums, project development, UNESCO Annual Report, Report of Program Committee. The Voice of America, Forum Lectures with transcript of by L. Cheek of \"The Art Museum As A Community Center\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Requests for loans of slides from South American Museums for L. Cheek's presentation to Denver conference, list of South American Museums. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Opening of UDC new building. Resolution concerning accessibility to members of UDC, invitations. Dates- 6/57 - 12/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence, reports, minutes. Expansion of local service. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Charitable organizations that have received UGF monies and fund raising campaign. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- The Air Force Memorial Center: statement of purpose, design, personnel requirements, building program, Minutes of U.S. Air Force Fine Art Committee 6/58 and 12/60, \"Proposal For The USAF Memorial Education Center\", travel vouchers and floor plan for the Academy Museum (Planetarium). Slides. Dates- 2/57-4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Edward R. Murrow as Director, merging of the People-to People Program (organization of museum professional) with the USIA. Newspaper clippings. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Forum Series\": International Broadcast, lecture series. Essay- \"the Art Museum As A Community Center\" by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- UNESCO Action to safeguard Nubian monuments due to the construction of the Aswan Dam. Roster of Honorary Committee, International Action Committee, United Arab Committee, Executive Board Minutes. Dates- 4/60 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Virginia State Employees U.S. Savings Bond campaign, handbook for canvassers, meeting agendas and progress reports. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Col. H.W. Fitzroy. Subject- Coordinating agency between institutions and other cultural, educational and scientific agencies in Virginia through a lecture series of visiting scholars. Dates- 9/54 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Bayly Art Museum and the McIntire School of Fine Arts at the University of Virginia. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Lecturers and AIV contributors, loans of objects, fellowships. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and T. Colt. Subject- UVA Museum loan of objects and lecture tours, fellowships. List of prints on loan to VMFA from Catesby estate and list of Lurcat Tapestries. Dates- 8/47 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Museum business, Artmobile, VMT, requests for loans, contributions and gifts. Reference to photos of ancient Greek sculpture, architecture and landscape views, invitations, pamphlets and postcards. Dates- 10/58 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains the schedules for staff vacations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence of Hans van Weeren-Griek, curator of Education at the VMFA. Dates- 1940-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Report regarding vandalism and misconduct: soaping of the fountains and damage to shrubs. Dates- 11/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Velz' service as VMFA Head of promotion, civilian and military experience record, newspaper clippings and Melchers Estate. Dates- 1949 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains general correspondence of Velz, Associate Director of VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Status of tax deduction, recommendations for event, invitations and dance card. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 9the Annual Viennese Ball sponsored by the Council: Ball Committee, agenda, decoration, invitations, etc. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- Virginia Art Alliance By-Laws, program and minutes of VAA meeting 1945, Report of the Trustees of Richmond Academy of Arts 1933, correspondence with other members of VAA, etc. Dates- 1933-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- program for annual meeting 1941, blank ballots labeled \"Board of Trustees Ballots\", statement of need for a state Supervisor of Fine Arts Education. Dates- 4/40-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- reports of activities of organization members 1942-3, correspondence with organization members-no annual meeting held this year due to World War II, etc. Dates- 3/43-5/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcement, agenda and program for annual meeting 1944, correspondence with organization members, election of officers/trustees, etc. Dates- 3/44-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting minutes ('49), listing and certification of delegates to VAA annual convention ('49), listing of the VAA Board of Trustees ('49), etc. Dates- 1948-49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes from meetings and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to Miss Helen C. Rose (Virginia Art Alliance President). Subject- correspondence with member organizations, etc. Dates- 3/58-8/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- minutes of Trustees meeting and annual meeting 1959, roster of officers and Trustees, program for annual meeting 1960, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of Va. Art Alliance). Subject- announcement, replies agenda and program for annual meeting of (1936) the VAA Trustees, listing of organizational members to VAA, certification forms for delegates to the VAA annual convention (1936), etc. Dates- 5/35-5/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension VMFA, Secretary of VA. Art Alliance). Subject- announcements, program and report for VAA annual meeting 1937, resolution changing the organization of the VAA (consolidating its function with that of the VMFA), certification of delegates to VAA annual meeting 1937, etc. Dates- 4/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept., Secretary of VA, Art Alliance). Subject- VAA annual meeting announcement and program (1938), certification for delegates to VAA annual convention 1938, correspondence with member organizations about the reorganization of the VAA (consolidating its function with that of the VMFA), etc. Dates- 2/38-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance). Subject- announcements and program for VAA annual meeting 1939, certification of delegates to the VAA annual convention 1939, letter from Gayle to the State Board of Education supporting the appointment of a state supervisor of art, etc. Dates- 3/39-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1940, correspondence with member organizations, nomination of trustees, certification of delegates to annual convention 1940, etc. Dates- 3/39-5/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1941, report of the VAA 1940-1, listing of organization members, By-Laws of VAA 1934, correspondence with trustees, etc. Dates- 3/41-4/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- program for annual meeting 1942, roster of member organizations, reports from member organizations, Annual Report of the VAA 1941-2, listing of VAA lectures in 1941, Museum Bulletin (VMFA) vol.2, no.6, 1942etc. Dates- 3/42-4/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcements, program and minutes for annual meeting 1944, reports of member organizations 1944, certification of delegates to annual convention 1944, listing of Board resolutions during war time, roster of member organizations, etc. Dates- 4/44-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. T.C. Colt (Secretary of VA Art Alliance). Subject- announcements, program and minutes for annual meeting 1945, roster of trustees and nominating committee, reports of member organizations, certification of delegates to annual convention 1945, etc. Dates- 3/45-2/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945, announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945,announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting program ('46 and'47) and minutes ('46), list of members ('47), certification of delegates to annual VAA convention ('47), Reports of art activities around the state, etc. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance)and M.B. Christison (Curator of Education). Subject- copies of 1947 resolution about art display areas in public buildings, minutes of annual meeting 1947, announcements and program for annual meeting 1948, roster of member organizations 1948, correspondence about securing guest speakers for VAA annual convention 1948, certification of delegates to annual convention 1949, etc. Dates- 7/45-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- membership roster ('48), list of trustees ('48), announcement, minutes and attendance to annual meeting ('48), summary of panel discussion about art education in Va. schools, statement of VAA purposes and objectives, etc. Dates- 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- minutes of the Virginia Art Alliance meeting ('47 and'48), Board meeting announcement and attendance, program of annual meeting ('48), list of suggested nominees to the VAA Board ('48), etc. Dates- 1947-8.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- annual reports of activities made by VAA members. Dates- 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Annual meeting 1955. Correspondence, resolutions and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence, minutes and agendas. Form letter announcing annual meeting 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes, agenda and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcement and minutes of Fall Meeting 1957, correspondence with member organizations, etc. Dates- 11/57-12/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Meeting held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1957, appointments to nominating committee, minutes of the Trustees meeting 1957, roster of organization members, The Annual Review of the Virginia Art Alliance 5/39,etc. Dates- 2/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and tentative reservation list for annual meeting 1958, etc. Dates- 9/58-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1958, reports of member organizations, Virginia Art Alliance By-Laws, proposed revisions to By-Laws, VAA procedures, appointments to committees and to board, etc. Dates- 1/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes from annual meeting 1959, member organization reports, roster of VA. Art Alliance officers and trustees, VAA By-Laws, etc. Dates- 5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison Assistant Director VMFA). Subject- announcement and schedule for annual meeting 1959, blank reservation forms for school artmobile visits, etc. Dates- 10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and program for annual meeting 1960, listing of nominating committee appointments, roster of officers and trustees, listing of delegates to annual meeting, etc. Dates- 3/60-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- reports from member organizations, etc. Dates- 1956-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of organizational members and their attendance, correspondence and form letters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Board of trustees and list of members 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Board of trustees' meeting 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Board of Trustees, 1952-55. Correspondence, minutes. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trustee correspondence, minutes and members. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard Subject- preliminary work for the VAA booklet: \"Facilities for Organization Members Comprising the Virginia Art Alliance\". Dates- 8/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Secretary Virginia Art Alliance). Subject- minutes of Virginia Art Alliance (VAA) annual meeting 1957, proposed revisions to By-Laws, etc. Dates- 8/56-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- outline of a state art federation, constitutions, by-laws, information on other art federations (i.e.: The American Federation of Art, The Kansas State Federation of Art, The Indiana Federation of Art Clubs, etc.), etc. Dates- 1/34. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Va. Art Alliance procedures and a short history, draft of proposed revisions to VAA By-Laws, Annual Review of the Virginia Art Alliance. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA/ Secretary of the VA Art Alliance). Subject- VAA By-Laws 1934, resolution (1936) to consolidate the functions of the VMFA and VAA, information about the development of a new type of VMFA annual membership- the organization membership, etc. Dates- 1934-10/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- listing of Trustees 1934- 39, Trustee meeting announcements, letters accepting election to the VAA Board of Trustees, etc. Dates- 11/34-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA representative on the Virginia Art Commission. Dates- 11/55 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- selecting and securing jurors for the exhibition \"Virginia Artists 1955\", listing of pieces and artist included in the exhibition, printed material for the exhibition, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: Paul Smith, Rose Slivka and Frank Getlein. Salon des Refuse's, biographical data, exhibition catalog. Dates- 6/66 - 6/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Prospective jurors and exhibition announcement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Jurors: Thomas Hess. Exhibition statement, reception, guest list, members preview, program agenda, discontinuation of salon des refuse's, installation and exhibition catalog. Dates- 1967, 11/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper and magazine clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence regarding auditor's reports. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Audit Reports 1936-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Auditors Survey and Systems study of the VMFA. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Wm. Morrison. Subject- Filming of \"California Watercolors\" traveling exhibition with footage of Virginia Beach Sidewalk Show included in the 25th anniversary film. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Prospectus for the Virginia Center For the Performing Arts. Statement of purpose: Academy-Conservatoire of Dramatic Art with training center and professional theatre. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding objects and paintings in private collections throughout state of Virginia. Correspondence with artists and owners. 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Statement of mission, NEA grants, proposals, awards, potential applicants, recipients. Collectors' Circle: Arts and Humanities Challenge grants for Conservation projects. Degas exhibition. Dates- 2/74 - 6/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- VCU and U of R Drama departments. VMFA/VCU Museum Methods Course. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Current/future cooperation between VCU and VMFA: theatre, Art Historical studies, education, museum training, music dept.'s, VCU Conservation Lab and Anderson Gallery. Dates- 1/73 - 2/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Juror: Paul Smith. Reception, guest list, program, agenda and exhibition catalog. Dates- 3/71 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Juror: Henry Wolf. Event program, invitations, guest list, statistics regarding entrants, certificate winners, etc. Exhibition catalogs for \"Virginia Designers\", 1970 and 1971; \"Virginia Photographers\", 1970 Date- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding state budget 1946-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VEA Centennial Event and retired teachers complex, theatre program and Executive Committee Minutes, 12/61. Dates- 10/63 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Retired teachers apartment complex proposed for the 2900 block of Grove Ave., later rejected by the City Council, newspaper clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Exhibition: \"American Rooms in Miniature\", sponsored by Va. Federation of Women's Clubs, sponsorship of statewide tour of Artmobile, newspaper clippings and pamphlets, \"Virginia Journal of Education\", 10/63, catalog of \"American Rooms in Miniature\" by Mrs. J.W. Thorne, Art Institute of Chicago, 1941. Dates- 6/53 - 2/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Virginia Federation of Women's Clubs Statewide Arts Festival. Dates- 5/67 - 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Thank you notes from newly elected/reelected members of the House of Delegates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Gov. John. S. Battle. Dates- 1949-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Gov. Colgate W. Darden. Dates- 1942-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Gov. George C. Peery. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Bills vetoed and passed by Gov. Thomas B. Stanley [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Gov. William M. Tuck. Dates-1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Multi-level Arts Festival held annually in Abingdon, Va., loans of art works, consultation on programming and pamphlets. Dates- 11/52 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, F. Numan (Wm. and Mary) Subject- Meeting to focus on Architecture and the Humanities. Dates- 11/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Catalog from Franklin Mint series of silver commemorative medals. Norton Simon summary of Annual report, 1970. Dates- 1970 -71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mrs. J.G. Pollard was chairman of this agency; copies of: Fundamentals of a Growing Recreation Program by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Agendas and minutes of meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns a Governor's commission to study juvenile delinquency and the Virginia Advisory Legislative Council. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Report to the Committee on \"Recreation as a Function of Government in Virginia.\"   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- copies of the executive order creating the Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- planning a listing of recreation films available through state agencies and 16mm Recreation Films Available in Virginia published by the VA Inter-Agency Committee on Recreation, etc. Dates- 6/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- working papers and final copies of the \"1st Report to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 10/53-1/54; Correspondence Subject- copies of the \"First Report to the Governor by the Inter-Agency Committee on Recreation\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Selected legislation on recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- membership rosters for the VA Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- statewide recreation reports listing facilities, budgets, organizations and needs, pamphlets from the National Recreation Association, etc. Dates- 7/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Sponsored by the National Recreation Association 1955-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains a listing of personnel and the purpose of the committee.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper clippings and pamphlets.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Pamphlets, magazine articles etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Copies of \"Fundamentals of a Growing Recreation Program\" by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- working papers for and final copies of the \"1st and 2nd Reports to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 11/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Juror: Sarah Tomerlin Lee, Biographical data, event program, pamphlets and catalog for exhibition. Dates- 9/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Museum events, rosters: Senate, House of Delegates. Letter to members of the general assembly. Essay- \"The Virginia Museum and the Arts in Virginia\". Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Reception for organization composed of Mayors, City Managers and City Officials. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Faye Ambrose and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year. Dates- 5/56-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Charles E. Baker and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications and award letters (1950, 1951) for VMFA in-state fellowship, artist progress reports for 2 years, etc. Dates- 5/50-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Regina Bartley and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 4/51-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Wm. Thomas Bland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA fellowship, thank you notes made by Mr. Bland (mixed media including watercolors). Dates- 8/48-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Robert Brushwood and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations, award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Kuhn R. Caldwell and Mrs. J.G. Pollard, M.B. Christison (Assistant Director), and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, artist progress reports for 1 year . Dates- 12/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mary Frances Cheatham and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA junior fellowship, artist progress reports for 1 year. Dates- 1/49-3/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Janet Clausen and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Robert L. Davis and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA in-state fellowship, photos of artist's work, artist progress reports for 1 year, etc. Dates- 4/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Worden Day and Mrs. J.G. Pollard, M.B. Christison and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, etc. Dates-4/49-8/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. T.V. Downing, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 10/49-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Charles Flynn, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 4/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 2/54-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- award letter for VMFA in-state fellowship, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Barbara Harding and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications ('53 and '54), recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Catherine M. Hipp and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Jem W. Hom and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/56-7/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between W.B. Houghland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Caroline C. Huff and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. William W. Jackson and Mrs. J.G. Pollard and L. Cheek Jr. Subject- applications (1948,1949), recommendations and award letter for VMFA fellowship, etc. Dates- 5/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Benjamin Knapp and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. James Leedy and Mrs. J.G. Pollard and M.B. Christison (Assistant Director). Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/57-6/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Brenda R. MacBaisey and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year (includes lithography proofs), etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. James P. Moyers and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Joe Ravenscroft and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, application and recommendations for VMFA fellowship, etc. Dates- 8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, recommendations for VMFA fellowship, etc. Dates-8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.F. Russell and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for out-of-state fellowship, artist progress report for 1 year, etc. Dates- 4/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between R.E. Spain and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Mary R. Tatum and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1year, etc. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Primm Turner and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress report for 1 year, application for Catherwood Foundation fellowship, etc. Dates- 3/56-9/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. E. Parker Twombly and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA out-of-state fellowship, recommendation letters written by: Ben Shahn and Robert Motherwell, artist progress report for 1 year, etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress report for 1 year, etc. Dates- 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Howard Woody and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for student fellowship, etc. Dates- 4/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Peter Wreden and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, etc. Dates- 4/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of fellowship applicants, requests for applications, rejection letters, etc. Dates- 3/49-6/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications, recommendations and rejection letters for those applicants not chosen to receive fellowships. Dates- 3/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship, fellowship announcement, minutes of the fellowship committee meeting (1954), etc. Dates- 12/40-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- listing of applicants 1942-44, listing of types of fellowships offered by the Museum, etc. Dates- 1942-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- various applications, recommendations, rejection letters, etc. Dates- 5/46-6/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- announcements of fellowships, blank fellowship applications, requests for applications, various completed applications, award and rejection letters for fellowships, artist reply letters, etc. Dates-4/46-12/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- various applications, recommendations, fellowship recipient progress reports, award and rejection letters, correspondence with Fellowship committee, etc. Dates- 4/47-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject-the organization of the Fellowship committee, requests for fellowship applications, etc. Dates- 9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. John L. Pratt. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship program, minutes of: annual board meeting (1941), executive committee meeting (1940), VA artists fellowship committee meeting (1940), announcement/application for VMFA fellowship, etc. Dates- 6/40-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence about the Museum. Dates- 1939-46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition- \"The Virginia Museum of Fine Arts in Roanoke\", 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Essays by Director Thomas Colt on the Principles and Work of the Virginia Museum of Fine arts and its history.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Timetable, agenda, invitation, guest list. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Juror: Henry Callahan, biographical data, entry form, letters to selected applicants, statistics: entrants vs. applicants etc., and jury procedure. Dates- 4/71-2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Fellowships, VPI Traveling Theatre. Letter to Josef Albers with biographical data, invitations and exhibitions. Dates- 3/59 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains pamphlets and correspondence between this association and Mrs. Pollard's Inter-agency committee on recreation 1949-54; Reports and Inventories of recreational activities of state agencies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- VMFA budget, state issue vehicles, Artmobile, salaries, Robinson House, etc. Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Complimentary memberships to members of the house of delegates, travel regulations, United Givers Fund campaign, management studies. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VSAA membership rosters, membership of confidential secretaries to directors of state agencies. Dates- 9/63 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from the Office of the Governor. Subject- Memos to heads of state agencies regarding all manner of state operations, capital outlays. Annual Report of \"Virginia Department of Vocational Rehabilitation\", 1976. Dates- 1/73 - 10/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from the Office of the Governor. Subject- Affirmative Action and Freedom of Information Act requests. \"Virginia Local and Regional Planning 1974\"; \"Virginia Commission Visually Handicapped Annual Report\", 1973-74; \"Virginia Highway Commission Annual Report\", 1973-74. Dates- 11/74 - 12/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from the Office of the Governor. Subject- State governmental management, budget appropriation requests, Virginia calendar of events, newsletters, museum salaries and the Virginia Privacy Act of 1976. Dates- 4/75 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regards donating old exhibition materials 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt. Subject- Roster of VMFA Trustees, resume of progress in the Fine Arts of Virginia. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and E.M. Kates (VSIF). Subject- Planting of flower beds and maintenance of interior foliage, Elizabeth Kates Foundation. Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cleaning and treatment reports of portraits owned by the Virginia State Library and Archives. Also correspondence regarding the wartime protection of Virginia's cultural materials, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- outline of annual meeting. Dates- 11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- \"Planning Your Town\" traveling exhibition, photos and description of exhibition installation, copy of an essay written by Cheek for Art Digest (4/52) Dates- 2/52-10/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- VA Union choir singing at the Museum during the Christmas season, pamphlets about Museum sponsored activities during the holidays, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Statewide competition for the design of Memorial and jury selection. L. Cheek's service as advisor to the Memorial Commission. T.J. Collins and Son as winners of competition. \"Program Of Competition For The Virginia World War II Memorial\". Dates- 12/50 - 3/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Program Of Competition For The Virginia World War II Memorial\", firms invited to compete in the final selection, expenses incurred and resumes of applicants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, John J. Wicker Jr. (Chairman). Subject- Competition program, VWW II Memorial Commission meeting minutes, \"Preamble\", for the creation of the memorial, \"Architectural Competitions\", AIA Document no.213. Drawings/plans and photographs for site development. Dates- 5/50 - 12/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 1953 Official Report of the Virginia World War II Memorial Commission. Dates- 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Competition program and closing proceedings. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Applications from selected entrants, official report of the jury in their selection of J.T. Collins and Son, (A.I.A.). Dates- 3/51 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Report of the Jury concerning the winning design. Jury members: Waldon Franklin, George Howe, Frederick C. Disque, Edward D. Stone, W. S. Robertson, biographical data included and list of competition entrants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Guest lecturers, membership. Dates- 12/63 - 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mrs. von Keller. Subject- appointment of von Keller as Acting Director of VMFA in absence of Colt, biographical information, etc. Dates- 4/35-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mrs. von Keller (Art Director, Randolph-Macon Woman's College). Subject- personal, Museum events, etc. Dates- 8/42-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Morton Vose. Subject- Acquisitions and provenance of objects. Dates- 7/56 - 2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J.G. Pollard, T. Colt. Priscilla Crum and L. Cheek. Subject- Segregation in children's art classes, Study of early 19th century architect and builder John Jordan. WRVA Radio weekly series of VMFA activities, Salon des Refuses' for artists eliminated from the Virginia Artists juried exhibition. World War II Memorial design competition, Artmobile, newspaper clippings, paintings from the Williams Collection and the Helena Woolworth McCann Collection of Export Collection. Exhibition catalog: \"Eugene Wiesz\". Photographs. Dates- 9/45 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and M. Christison. Subject- Artmobile, AIV, sit-see chairs, collectors circle, Fellows, Wise Pre-Columbian Collection, requests for employment. Woodrow Wilson Birthplace Foundation: Annual Report 10/64. Gifts, loans, contributions and acquisitions. Dates- 3/60 -11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Exhibition announcements, invitations, newsletters, biographical data, requests for employment. Purchases, gifts and acquisitions. Damage report of art works. \"Profile\", re: Tishman Collection of African Objects. \"Hermes Wingraf Quarterly Catalog\", Summer 1971, re: 17th century Dutch still-lifes. Dates- 2/70 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Waddy bequest for fountain construction. Costs of construction and maintenance of fountains: National Gallery, Frick Collection and Isabella Stewart Gardner Museum, includes photographs. Blueprints/plans: VMFA Site Development, East Elevations. Excerpt from the will of Woodson P. Waddy. Dates- 1947, 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Bronze Waddy Memorial Fountains, architects: Eggers and Higgins, Sculptor: Ralph Menconi. Contractual agreement with architects, Blueprints/ plans, detail drawings for : Waddy Memorial Fountain, Triton Fountain, East elevation and site development plans. Dates- 8/53 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt and Mr. Clifford L. Walker. Subject- inscribed plates for paintings in Museum collection, bronze busts and tablets for founders. Dates- 11/35-8/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Walpole Society Dinner, membership roster and newspaper clippings. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA staff orders for conduct of Museum during an emergency, pamphlets from the U.S. Government, Association of Art Museum Directors and American and British museums about art preservation in case of a wartime emergency. Dates- 1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Warburg Collection on loan to VMFA and his address to collector's circle. Bulletin vol.18 no.9 5/58 Dates- 5/57 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT scenery design. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- pamphlets from the U.S. Government, Association of Art Directors and American and British museums about art preservation in case of a wartime emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- prospective sale of George Washington portrait by Peale to the state of Virginia, history of the painting, may have been commissioned by the state in 1784 for use by Houdin (the sculptor of the George Washington statue in the capital). Dates- 10/37-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Marion Junkin. Subject- Metropolitan Collection on permanent loan to W\u0026amp;L, letter from M. Junkin espousing the talents/commitments of the young artist Cy Twombly. Hans Gasman as restorer for VMFA lists of objects and exhibitions. Dates- 11/49 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Alexander W. Weddell. Subject- Weddell's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, gifts from Weddell, listing of Trustees 1942, listing of Trustees committee assignments 1945. Dates- 9/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and Mrs. J.G. Pollard. Subject- Founding member of VMFA, resolution from Executive Board in memoriam of Alexander Wilbourne and Virginia Chase Weddell. Award of the Webster S. Rhoads Medal for distinguished service. Minutes of Annual Meeting, descent and authenticity of a pair of copies of portraits of George Mason and his wife. Dates- 7/45 - 1/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Foundation financial support: VMT, library, contributions to Fellows fund, book purchases, VMFA services catalog. Dates- 7/66 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Director of Gallery of Modern Art, NYC, and his service as a juror. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"Time\" article on George Catlin, artist of the American West. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and P. Mellon. Subject- Ultimate destination of Mellon English Collection. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Tour request. Dates- 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Mrs. J. H. Parsons. Subject- Wheelchairs adapted for sit-see chairs and underwritten by Mrs. Parsons. Dates- 10/65 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecture/recital to VMFA council and Fellows. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitation to L. Cheek by President Johnson to attend luncheon for President-elect Barrentos of Bolivia. Dates- 7/20/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Objects on loan to White House. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Theo B. White. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Diorama's made by Whitelaw in the collection of the L.A. County Museum and George Washington Masonic National Memorial Association. Photographs Dates- 7/62 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- general correspondence with a Trustee on Museum programs and operating activities (esp. Accessions Committee). Dates- 6/35-3/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Beatrice von Keller, T. Colt and L. Cheek. Subject- Organization of an exhibition of pre-Columbian sculpture, Catesby-Jones collection, Whitman Collection of Mayan Sculpture, Chrysler Collection accessions and exhibitions. Date- 8/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mrs. Thelma Cudlipp Whitman. Subject- Trustee/Museum business, etc. Dates- 5/51-2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Ambassador to Great Britain, invitation to become Collector-of-the- Year. Dates- 5/61 - 7/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and various Whitney Museum staff. Subject- loans to the Museum for the inaugural exhibition, loan to the Whitney from VMFA, museum practices, etc. Dates- 5/35-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Summer state service projects, VMFA projects list. Dates- 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Playwright, invitation to address VMT, Time Cover 11/12/53. Dates- 1/53 - 3/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA appointment to Board of Trustees, service as President and on the Entertainment Committee. Museum business, South Wing, Fellows, NEFTA. Gift of Mellon French painting collection, gifts, contributions. Dates- 6/65 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibitions: \"Jean Outland Chrysler Collection\" and \"30 Years of Virginia Art\". List of objects, Charter Day ceremonies: invitation list and dedication of the new Fine Arts building. Essays- \"Thomas Jefferson and the Fine Arts\" and \"The Arts in Virginia\", by L. Cheek 2/67. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT and loans of objects to VMFA. Dates- 1/50 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Mrs. J.G. Pollard. Subject- Williams Collection inventory, Williams purchase fund, statement concerning the informal agreement between L. Cheek and Mrs. A. D. Williams concerning installation of collection in the new wing. Selected inventory of furnishings in the Williams home. A.D. Williams as recipient of the Rhoads Medal, financial contributions, gifts and loans. Dates- 6/48 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Berkley Williams Jr., Virginia artist. Dates- 1936-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., and Mr. E. Rand Williams. Subject- Trustee/Museum business, Rand served as Buildings and Grounds Committee Chairman 1937-8 and as first Vice-President in 1941, etc. Dates- 6/35-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. E. Randolph Williams. Subject- Trustee/ Museum business, etc. Dates- 5/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Glasglow bequest, Melchers Estate, Pratt Jewels, Portrait of \"James Patton Preston\", Gilbert Stuart, general legal questions. Dates- 10/58 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Election to board of Trustees; Dance Society. Dates- 6/54 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Advisory committee on the new Reception Center, L. Cheek as a member and a map with the proposed location. \"Summary of Reception Center Objectives and Experience\". Dates- 11/53-1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- List of objects accepted as loans and pending gift status. Dates- 10/49 - 3/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Preliminary plans for a foundation to house objects related to W. Wilson's life. Portrait exhibition of the 8 Virginia born Presidents, portrait of Mrs. Wilson, artist unknown. \"Woodrow Wilson's Heritage of Faith\", Frank Bell Lewis, Woodrow Wilson Birthplace Foundation, 1956. Dates- 9/55 - 6/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters of request and approval for event, agendas and timetable. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letter of confirmation. Dates- 7/11 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Woodlawn Plantation event, guest list and map. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. to Worcester Art Museum staff. Subject- loans for VMFA inaugural exhibition, loan to Worcester Art Museum, etc. Dates-8/35-7/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- exhibition held at the Museum \"Southern States Preview\" a regional exhibition connected to the World's Fair. Dates-10/38-12/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by applicants to exhibition. Subject- listings of artists accepted to the show (listed state by state). Dates- 12/38-1/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Arthur Drexler (MOMA) to lecture on Wright exhibition, reception, guest list. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Transcript of radio broadcast 2/26/54, exhibition: \"American Painting\", Artmobile and magazine excerpt. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Betsy Wyeth and Harry Brooks (Knoedlers). Subject- \"Country\": Working drawings, Artmobile layout and tour and reviews. Dates- 2/67 - 11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown and P. Near. Subject- Exhibitions, loans, acquisitions, AIV, gifts, contributions. Correspondence with William Zorach, sculptor. Dates- 9/49 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- museum practices, loans for the VMFA inaugural exhibition, etc. Dates-9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- General correspondence from Alumni, possible lecturers, newspaper clippings. Correspondence between Cheek and Alfred Stiegletz. Minutes of Alumni and Friends of the School of Art and Architecture, 5/58, pamphlets. Dates- 6/58 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Third Report Of The Committee On Architecture, Painting and Sculpture\", 4/50. Committee membership roster, issues facing various Yale departments. \"Bulletin Of Yale University\", series 44, 4/48 #5 and \"Official Register Of Harvard University\", vol. XLV, no.15 7/15/48. Dates- 1949 - 50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. Pollard and M. Christison. Subject- Yale school of the arts general operation, appointment of Joseph Albers, list of University Council Committees. Dates- 9/48 - 9/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Draft of the committee report and responses from other Yale committee members regarding departmental personnel, curriculum, problems and resolutions. \"Report Of The Committee Of The Division Of The Arts (Architecture and Planning And Design)\",prepared by L. Cheek, 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Report Of The Chairman Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 4/48, prepared by L. Cheek. Issues concerning Yale departments of the arts. Minutes of Yale Executive Committee Meetings, various reports on Yale departments. Dates- 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Cheek draft of, \"Report Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 1952. Yale policy review, new appointments, letters to other committee members, roster of membership. Dates- 5/51 - 4/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Evolving challenges of the various Yale departments. \"Report Of The Committee On The Division Of The Arts (Architecture, Planning and Design)\", 4/53. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA performance of Yale Glee Club, agenda, program, roster, etc. Dates- 10/60 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eR. Peter Mooz was Director of the museum from 1976-1981.\u003c/p\u003e","\u003cp\u003eCharles L. Reed was Interim Director of the museum from 1981-1984.\u003c/p\u003e","\u003cp\u003ePaul N. Perrot was Director of the museum from 1984-1991.\u003c/p\u003e","\u003cp\u003eKatherine R. Lee was Director of the museum from 1991-2000.\u003c/p\u003e","\u003cp\u003eRichard B. Woodward was Interim Director of the museum in 2000.\u003c/p\u003e","\u003cp\u003eMichael Brand was Director of the museum from 2000-2005.\u003c/p\u003e","\u003cp\u003eThomas N. Allen was Interim Director of the museum in 2006.\u003c/p\u003e","\u003cp\u003eThis series contains correspondence and subject files from staff members in the Director's Office.\u003c/p\u003e","\u003cp\u003eCarolyn Weekley was the Assistant to the Director from 1978-1979. She later became Curator of Decorative Arts, so there is some overlap in the files with her curatorial work.\u003c/p\u003e","\u003cp\u003eMargaret (Peggy) Burke was Assistant to the Director from 1980-1981, then Deputy Director in 1982, Deputy Director. She originally served as Assistant Director for Collections and Interpretation, so there is some overlap in the files with her other work.\u003c/p\u003e","\u003cp\u003eLulan Yu was Assistant to the Director from 2002-2007. Her files are mostly related to the North Wing expansion and the museum identity project.\u003c/p\u003e","\u003cp\u003eLee Anne Hurt Chesterfield was Assistant to the Director from 2004-2009, then became Director of Board Relations and Museum Planning. Her files are mostly related to special projects, exhibitions, and AAM reaccreditation.\u003c/p\u003e","\u003cp\u003eThis series consists of building files that were maintained separately in the Director's Office. There are often additional building files found in each Director's Correspondence files.\u003c/p\u003e","\u003cp\u003eThe West Wing was completed in 1985.\u003c/p\u003e","\u003cp\u003eThe North Wing expansion was completed in 2010.\u003c/p\u003e","\u003cp\u003eThis series consists of corespondence with internal and external groups, the affiliations or creations of which often often overlap different Directors.\u003c/p\u003e","\u003cp\u003eThis series consists of minutes and planning documents for meetings convened by the Director.\u003c/p\u003e","\u003cp\u003eThis series consists of program files that were maintained separately in the Director's Office. 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Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Sub-Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Series Description","Sub-Series Description","Sub-Series Description","Series Description","Series Description","Series Description"],"scopecontent_tesim":["This series is comprised of correspondence of all of the various Directors of the museum. Files were arranged alphabetically by subject, and there is a lot of overlap between different Director's as the files often contained pertinent items from a predecessor. In the case of the first sub-series (1.1), until 1976, the entire museum's files were maintained centrally as one unit in the Director's Office.","This series includes the records of the first three Directors - Thomas C. Colt (1935-1948), Leslie Cheek, Jr. (1948-1968), and James M. Brown (1969-1976) - as well as the two Interim Co-Directors Beatrice von Keller and Violet McDougall Pollard (1942-1945). The bulk of this series was deposited at the Library of Virginia, therefore most of the items held at VMFA are copies that LVA returned to the museum.","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with individuals, institutions and corporations beginning with the letter 'A', note- two letters written to Josef Albers (no replies). Dates- 2/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding a copy of Gainsborough's \"Blue Boy\" in the collection of Van Clief of Esmont, Virginia.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters from private donors and dealers offering objects for sale and as gifts to the Museum when it was first started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and information about gifts and purchases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about items being considered for purchase and members of the committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes, and information on bequests and purchases. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- minutes of accessions committee meeting 1972, announcements and attendance for meetings 1973, acquisitions policy for bidding on works of art at auction, etc. Dates- 9/72-1/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- painted decorations of St. James church, putting this church on the Virginia section of the National Register. Dates- 4/68-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- departmental inventories of non-expandable assets of the Commonwealth of VA 1940-3, worksheets on individual art objects and Museum equipment, state regulations, etc. Dates- 6/43-11/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown and P. Near (Curator). Subject- correspondence about possible acquisitions, considerations of gifts, notes on possible acquisitions, etc., 10/70-4/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding the gift of Mrs. Charles Adams (Ann Fowlkes) of music albums 1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's appointment by the Governor to an advisory committee assisting the Dept. of Conservation and Economic Development in a study for a proposed museum of science, archaeology and natural history (to be located in Richmond), copy of Senate joint resolution no.26-to study the encouragement or establishment of a museum of science and natural history, list of committee members, Report of the Department of Conservation and Economic Development to the Governor and the General Assembly of Virginia Relative to the Establishment of a Museum of Science, Archaeology and Natural History in Richmond, 1965, etc. Dates- 5/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Excerpt from the Report of the Committee on Recreation to the Advisory Council on the VA Economy and A Summary of Major Recommendations that Involve Questions of State Policy by the Advisory Council on the VA Economy. Dates- 8/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- possible Museum acquisitions from the dealer. Dates- 4/53-5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Airfiltering System 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- correspondence and announcement for lecture by Ambassador Akar about Africa's unique cultural heritage, etc. Dates- 10/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek was a judge for their annual show. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with Albemarle Art Association President about discontinued affiliation with VMFA, biographical information on Cheek, introduction about Cheek for lecture at AAA, Cheek's remarks in honor of Horace Burr 1966, etc. Dates- 8/57-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with and biographical information about Josef Albers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- a letter to Albers (no reply). Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown Subject- correspondence with Director about appointment to board of Hon. George S. Aldhizer II, Education in the Arts and Honors and Awards Committee appointments, etc. Dates- 6/67-2/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Donor of several paintings to the Museum, 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek as speaker for \"The Alexandria Forum: Southern Decorative Arts 1750-1850\", exhibition loans to Alexandria Assoc., etc. Dates- 9/55-1/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Printed materials. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding annual meetings and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- AAM (American Association of Museums)annual meeting pamphlets 1955,'57,'58,'59'60,'61,'62,'65 and'68, proposed constitution and By-Laws 1961, roster of member institutions 1959, correspondence about AAM meeting in Williamsburg, etc. Dates- 10/60-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from AAM Directors. Subject- Minutes annual meeting 1969, membership reports 1969-70, Financial Statements 1969-70, agenda for AAM council meeting 1970, memos, etc. Dates- 8/69-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- info about AAM (American Association of Museums) seminar held in Richmond 1972, financial and membership reports 1972, minutes of exec. committee meeting 1972, news releases, letter from Richard Nixon to Mr. Brown as President of the AAM, mailings sent out by AAM, etc. Dates- 7/72-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about Cheek as Program Chairman for AAM (American Association of Museums) annual meeting in Williamsburg 1962, tentative agenda, schedule of events, attendance list, committee reports, program, etc. Dates- 5/59-1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- correspondence to American Art Association (AAM) section chairmen about annual meeting, program, schedule of events, etc. Dates- 9/60-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about arranging program for American Association of Museums (AAM) meeting, roster of section chairmen 1962, agenda for exec. committee meeting 1961, invitations sent to VMFA trustees for a reception (held at VMFA) to meet the delegates to AAM meeting, etc. Dates- 7/59-6/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- roster of AAM (American Association of Museums) section chairmen 1962, attendance and schedule for section meetings, etc. Dates- 1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lloyd Goodrich Lecturer. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek on advisory committee for the study of design and craftsmanship in today's products, roster of advisory committee, proposed exhibition, conference series, documentary and publication about design and craftsmanship, National Exhibition Project Committee meeting minutes 1950, etc. Dates- 3/49-4/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek on Board of organization. Contains memos, pamphlets, exhibition literature etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns L. Cheek's membership in the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- minutes of exec. committee meetings 1961, '62 and '65, roster of trustees, memos to trustees, correspondence about convention in Chicago, etc. Dates- 1/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. (trustee of AFA). Subject- information about circulating exhibitions, minutes of Exec. committee meetings 1966 and '67, minutes of trustee meetings 1966, '67 and '68, memos to trustees, etc. Dates- 1/60-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- American Federation of Arts (AFA) exec. committee meeting minutes 1967 and '68, correspondence about AFA delegates visit to VMFA 1969, roster of members and committee appointments, news releases 1968, President's annual report to AFA, etc. Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about Cheek as Convention Committee Chairman 1959, correspondence about potential committee members, program for convention, minutes of preliminary joint meeting of the AFA trustees 1958, minutes of trustees meeting 1959, Golden Anniversary Convention, The American Federation of Arts 1909-1959, congratulatory and appreciation letters to Cheek, etc. Dates- 3/58-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown Subject- AFA (American Federation of Arts) exec. committee meeting minutes 1959,'60,'61,'62 and'65, roster of board of trustees, trustee meeting minutes 1961 and '62, AFA constitution, National Council on the Arts and Government Annual Report 1960, etc. Dates- 3/61-1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with the American Institute of Architects. Dates- 4/47-1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek served as a juror for the Annual Homefurnishings Design Competition and was an honorary member, 1949-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- A.I.D. (American Institute of Designers) VA chapter yearbook 1961-2, listing of suggested museums for A.I.D. exhibition, etc. Dates-5/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown. Subject- dinner meeting for the AID (American Institute of Designers) (interior designers). Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz and Wm. Wilkinson (Mariners Museum). Subject- Loan requests, cost estimates, pamphlets and photographs. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz and Wm. Wilkinson\u003e Subject- First major survey of American Marine Painting in observance of the Bicentennial. Lists of paintings, installation, budget, etc. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains copies of lecture invitation and catalog. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown from ASA (American Society of Appraisers). Subject- Brown's membership in ASA, ASA news 1971-2, announcement of meeting 1971, etc. Dates- 10/70-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for gallery dinner at VMFA for American Society of Appraisers. Dates- 1/72-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Brown as Chairman of a committee on collections at Amherst College and member of Exec. Committee of the Association of Fine Arts, constitution and minutes of Association of Fine Arts meetings 1970 and '71, roster of members of the Association of Fine Arts, membership solicitation letter, catalogue: The Amherst Sesquicentennial Exhibition 1972, etc. Dates- 10/69-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. J.G. Pollard and Mr. Henry W. Anderson. Subject- meetings of the Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, a portrait of Anderson by VA artist, Julian Binford, etc. Dates- 6/35-11/44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Henry W. Anderson. Subject- Anderson's presidency of the Board of Trustees 1947, trustee and Museum business, Annual Board meeting minutes 1947-8, Museum events and daily operations, Museum investments and gifts to the Museum, a general study of the Museum's collections and suggested plan of development (1947), information about the land occupied by the Museum and its estimated future needs, etc. Dates- 6/47-6/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- President of the Board of Trustees. 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and L. Cheek, Jr. and Col. Henry W. Anderson. Subject- Anderson's presidency of the VMFA Board of Trustees, Museum events and daily operations, gifts to the Museum, investment of the Museum's A.D. Williams fund, listing of financial condition of endowment and special funds 1952-3, etc. Dates- 5/51-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for dinner honoring Mr.and Mrs. Walter P. Chrysler, guest lists, invitations, R.S.V.P.'s, etc. Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- final copies: VMFA 2nd Annual Report of the Director 7/1/36-6/15/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 7th Annual Report of the Director 7/1/41-5/1/42 and VMFA staff orders 1/42 elaborating the orders of 6/41 conduct of the Museum during an emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers, preliminary and final copies of The Report of the Acting Directors for the Year 1944-5, agenda for Executive committee meeting 6/44, breakdown of membership 1943-4, 1944-5 and working papers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- final copy VMFA Annual Report. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- preliminary and final copies VMFA Annual Report 1946-7 7/1/47-4/30/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- preliminary and final copy: VMFA Annual Report 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for the 1948-9 Annual Report, Report of the Executive Committee of the VMFA to the Board of Trustees (5/22/49) also a listing and attendance record of the Board of Trustees (5/27/49).  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for the 14th Annual Report, including operations budget, salaries and membership count, also a copy of VMFA Organic Laws (10/36). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- The 14th Annual Report of the Director (5/27/49) and its working papers, also correspondence about VMFA role in selecting and displaying portraits in the Governor's Mansion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- working papers for the annual report, listing of Cheek's activities (lectures, consultations, committee and jury duties). Dates- 1960-1. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual Reports for Collections and Gallery Divisions 1951-54, and for State Extension Services 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 1st Annual Financial Report of the Curator (4/13/35-6/15/36), VMFA 2nd Annual Report of the Director (7/1/36-6/15/37), VMFA 3rd Annual Report of the Director (7/1/37-6/1/38), VMFA 4th Annual Report of the Director (7/1/38-6/1/39), VMFA 5th Annual Report of the Director (7/1/39-5/1/40), VMFA 6th Annual Report of the Director (7/1/40-5/1/41). Dates- 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 7th Annual Report of the Director (7/1/41-5/1/42), VMFA 8th Annual Report by the Acting Directors (7/1/42-5/31/43), also, VMFA 9th Annual Report by the Acting Directors (7/1/43-5/31/44).  Dates- 1941-1944. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- the following reports: \"Remarks by Robert Marsh, Jr. before the Appropriations Committee of the General Assembly\" and \"Resume of the Request of the Trustees of the Virginia Museum of Fine Arts before the Appropriations Committee 2/64\" Dates- 2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual meeting of its Richmond Chapter at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and Ms. B. von Keller. Subject- biographical info, purchase of his painting Maggie, letters of introduction, personal references, loaning work to Museum, Va. artists exhibitions, counsel on museum operations, etc. Dates- 10/35-10/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed paperback guide to architecture in Virginia, roster of Editorial Advisory Board for guidebook, list of sites by counties and cities, etc., final list of buildings and sites, announcements and minutes of Nominating Committee meeting, etc. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- biographical information on H. Harvard Arnason, speaker on Henry Moore sculpture at VMFA, VMFA Members' Bulletin vol.26, no.2 10/65. Dates- 9/65-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- confirmation of meeting with State Art Commission to present plans to enlarge VMFA. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership roster, pamphlet of Art Dealers of America, Inc., etc. Dates- 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given at the VMFA by members of the staff of the Museum of Modern Art 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices, the following publication: Let's Make the Lions Roar: A Marketing Study of the Art Institute of Chicago by Edward J. Teply (Northwestern University 1959) Dates- 6/48-1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Potential jurors for biennial exhibitions 1970. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence and a listing of members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and art nouveau purchase plan. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Artificial flowers for decoration in galleries, 1964. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum program where artist-members participated in a life drawing class.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program sponsored by museum for artist members, included life drawing classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and memorandums. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and minutes from meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Project to try and send artmobiles overseas as suggested by the State Department. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence as to whether or not they would like to have the artmobile visit their school. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains plans, blueprints, and correspondence that occurred during its development.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Manufacturer of custom van bodies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Presidential Inauguration. Artmobile was State of Virginia's entry in President Johnson's inaugural parade, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed exhibition for the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Magic City Bank had an exhibit trailer, which was a prototype for artmobile.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations, programs and correspondence.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reprints of A.I.V. article \"Galleries on Wheels\", 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VFWC was instrumental in getting the artmobile started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, newspaper and magazine clippings and schedule 1961-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedules, Plans, correspondence and photographs, 1960-63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and plans for 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening, Middleburg, Virginia, 1962.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner and Invitation List. Artmobile II Opening. Middleburg, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Facts sheets, invitations and photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dedication. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- correspondence re. funding, construction, photographs, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans for Collegiate Artmobile to visit Virginia Colleges. 1964-65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal to ask the Carnegie Foundation for funding for a collegiate artmobile, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening, Ashland, Virginia. Correspondence and programs, Sept. 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Meeting of Virginia college Presidents regarding the Artmobile project to service college and University campuses. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, David Pittman, Peter Mooz. Subject- Artmobile workshop: program agenda, exhibition schedules, etc. \"Artmobile Chairman Handbook\". Dates- 7/74 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fruehauf Trailer Co., artmobile manufacturer, 1965-66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed by Lt. Governor Mills Godwin, attempted to establish a Virginia Arts and Crafts Museum. Newspaper clippings, correspondence, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets, prints, minutes and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Arts and Humanities Summer Institute. Sponsored by the Va. Commission of Arts and Humanities at the Museum in 1971. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Informational pamphlet from the President's advisory Council on the Arts, 1963. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Art Council of America and Governor's office. Subject- invitation from the Art Council of America to be represented in this council, etc. Dates- 10/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from George Cruger (Editor, AIV), J.M. Brown and Wm. Gaines. Subject- Microfilming of AIV and checklist of Articles to date, Spring 1974. Catalog: \"Image\", George Eastman House, 1973. Dates- 11/73 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memos and Correspondence. Dates- 1960 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Search for a designer for the magazine. Letters to and from possible candidates. Dates- 1964.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Various issues of the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- A.P. News clips regarding Museum, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the portrait bust of John Marshall.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- A.P.V.A. Pamphlets and Correspondence, 1972. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- agenda for the APVA (Association for the Preservation of VA. Antiquities) meeting held at VMFA, roster of exec. committee and trustees, etc. Dates- 3/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of members and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and reports from annual meeting 1964-68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- General correspondence to Directors of various museums regarding membership, loans of art works, invitations, etc.  Fact sheet on Artist housing in Soho. Dates- 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and minutes from annual meeting 1970-71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Annual meeting: reports, minutes, events schedules, officers, membership. Code of Ethics for ilicit traffic in works of art. \"Reproductions and Reproduction Rights For Museum-Owned Objects\", 1962, American Federation of Arts. Dates- 1972, 1979 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes from meeting. Dates- 5/59 - 6/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposals for membership. L. Cheek was membership chairman. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes of meeting. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report on dangers of lending objects to institutions for special exhibitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Questionnaires, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Lady Nancy Astor. Subject- Donation of her portrait by John Singer Sargent and china. Dates- 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"B\". Subject- varied. Dates- 9/50-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with institutions, individuals or corporations beginning with the letter \"B\" and the VMFA loan-own art service policy statement. Dates- 6/62-10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Transcript of remarks by Frank Stanton on his award of the Michael Friedman Medal of the Architectural league, magazine clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Ballet and L. Cheek concerning the beginning and future of a theatre at the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, A. Ballet and trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Baltimore Museum of Art calendars of events, correspondence about museum practices, etc. Dates- 9/48-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Miss Iris Barry. Subject- giving a film lecture, newspaper clipping, etc. Dates- 8/49-5/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, T.C. Colt, Jr. and L. Cheek, Jr. Subject- general information about Barter Theatre (announcements, VA Highlands Festival schedule, etc.) and correspondence about the Museum sponsoring drama productions as a state extension service. Dates- 12/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Barzansky Galleries. Subject- invitation to a Harriet Fitzgerald exhibition at the Charles Barzansky Galleries, N.Y.C. Dates- 1/58-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Governor Battle. Subject- thank you notes, etc. Dates- 11/50-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlet of the Museum's 1945-6 season. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. Bellows. Subject- the proposed acquisition of one of two of Bellows' paintings (Kids, The Teamster) which the museum didn't purchase. Dates-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Fitzgerald Bemiss as a Trustee, correspondence about Board of Trustees and Membership Committee business, gifts to VMFA, etc. Dates- 6/54-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- visit to Florence, Italy and to see Bernhard Berenson. Dates- 1/56-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition: Eugene Berman's sketches for the Metropolitan Opera's Barber of Seville. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Brown was a chairman of the panel of judges for the Franklin Mint Bicentennial Medal competition in the state of Virginia, official rules and entry form for competition, etc. Dates- 4/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- House Bill no.131 to keep Va. interstates free of billboards, response letters from Va. politicians, etc. Dates- 2/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Mr. Paul Bird as a lecturer on contemporary painting, a transcript of the lecture, etc. Dates- 1/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek and J.M. Brown. Subject- Accessions: Chinese objects. Requests for loan of A. Wyeth paintings from Wyeth Estate, invitation to Clare Boothe Luce to address 17th Annual Va. Public Relations Conference, letter of inquiry regarding the artist Lucille Sinclair Douglas. Accessions: Dubuffet prints, period chairs, pedestals, chest, Aphrodite Torso, female draped figure, Claude Hirst painting, Roger Barr painting. Eric Christmas and Festival Theatre, Ontario, Canada, proposal around building of Bristol Chapter House, furnishing of Agecroft Hall, expansion of University curriculum to include Art Historical Studies in surrounding colleges, Hogarth exhibition, World Museum Fund with description of event and agenda.  Text from \"Country Beautiful, America's Finest Small Museums\", with description of VMFA. Accession and gifts: \"The Little School Girl\", Degas; Amphipolis Gold. Dates- 1959-70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek. Jr. Subject- By-Laws revised and adopted 1951, Organic Laws, announcements, replies, agenda and minutes of annual Board meeting 1950, committee reports, listing of Trustees, etc. Dates- 5/50-5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Col. H.W. Anderson. Subject- annual Board meeting, listing of Trustees 1952-3, announcement of annual meeting, VMFA Annual Report of the Director 1952, etc. Dates- 5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement, replies, agenda and minutes of annual meeting 1953, notice of amendments to the By-Laws, a VMFA report/essay \"The Need for Completing Its Addition\", etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- annual Board meeting minutes 1953, 54, VMFA Annual Report of the Director 1954, notice of amendments to the By-Laws 1954, announcement, replies and agenda for meeting, etc. Dates- 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- minutes of Trustees annual meeting 1955, working papers for the meeting, committee reports, By-Laws revised and adopted 6/54, listing of insurance coverage, Museum events, etc. Dates- 5/55-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mid-year meeting and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement of annual meeting and luncheon for the Trustees, R.S.V.P.'s, attendance list, etc. Dates- 4/56-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Index cards with names and addresses of current and former Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff and Board Presidents. Subject- Board of Trustees committee appointments, appointment letters and reply letters for the following years: '45/6, '46/7, '47/8, '48/9 and '49/50. Dates- 1945-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- letters of appointment to serve on Trustee committees and reply letters, listing of committee appointments 1949-50, etc. Dates- 7/49-7/50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Henry W. Anderson (President of the Board). Subject- appointment to committee letters and reply letters, etc. Dates- 8/51-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence By L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of committee appointments. Dates- 1954-5. Correspondence- Subject- listing of committee appointments. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of Trustees committee appointments (1956-7), reply letters to committee appointments, etc. Dates- 8/56-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- notes on planning, cost estimates, invitations, replies to preview of A.D. Williams collection and dinner honoring Governor and Mrs. Battle, etc. Dates- 10/52-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Museum events, working papers for the annual Board meetings and agendas, nominations to the Board, excerpts from the Board minutes, committee reports, etc. Dates- 2/37-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains miscellaneous correspondence, memos and minutes from meetings. 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board annual meeting minutes 1955, By-Laws revised and adopted 1954, By-Laws and suggested revisions 1956, listing of Trustees 1955, Committee appointments 1954-57, etc. Dates- 1954-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Roster of the VMFA Board of Trustees. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement, replies for Board meeting, listing of Trustees 1952, 53, notice of meeting cancellation because of inability to secure a quorum, etc. Dates- 1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- announcements, replies, agenda and minutes of Trustees special meeting and Executive Committee meeting, etc., 1/54-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of the Board of Trustees annual meetings. Dates- 1934-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- suggested plan for developing VMFA collections by Colt (1945), announcements and replies for Board annual meeting , prepared budget 1947-8, listings of Trustees, officers and committees, etc. Dates- 10/45-6/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- sightseeing boat tour on the James River. Dates- 2/57-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mrs. John H. Bocock as a Trustee, Board of Trustees, Entertainment and Accessions Committee business, art lending service information, gifts to VMFA, etc. Dates- 5/51-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek writing introduction for A. Aubrey Bodine's photography book: The Face of Virginia, draft of the foreword/introduction, biographical information on Bodine, etc. Dates- 3/62-1/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- letter to Hon. Armstead L. Boothe about appointment to Board. Dates- 6/64-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Jr. primarily with the Sheraton Hotel. Subject- a cocktail party held on Cheek's Boston trip, guest lists, invitations, etc. Dates- 10/58-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. with various Boston Museum staff. Subject- museum practices, loans, speaking engagements, exchange publications, etc. Dates- 11/47-10/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loaning objects to VMFA, correspondence about museum practices, lecture given by Cheek in Boston about art in Virginia, etc. Dates- 3/55-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and V.Y. Bowditch. Subject- Bowditch biographical information, drama schedule 1955-6 season, evaluations, theatre operations, etc. Dates- 7/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Theatre director of Pasadena Playhouse 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. with E.G. Bowles and the Public Works Administration (PWA). Subject- landscaping the Museum and bids complying with PWA, construction contract 4/36, classifications of labor/workmen and wage rates 12/34 and Form Of Bond-VA 4/36. Dates-3/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's membership to the VMFA Board of Trustees, Museum events and daily operations, the following Museum publications: Virginia Museum of Fine Arts By-Laws, 1st Annual Financial Report of the Curator (4/13/35-6/15/36) and Virginia Museum of Fine Arts 1st Quarterly Financial Report of the Curator (5/1/36), listing of suggested prospective Trustees, listing of Trustee committee appointments 1937, sketches of Museum floor plan, etc. Dates- 12/34-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, Museum publication: Prospectus of Program Season of 1937-38, radio talk show transcript 3/38, etc. Dates- 6/37-6/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, PWA grant offer 1938 to the Museum, letter from VMFA rejecting the offer of a PWA grant, copy of the resolution that Henry P. Strause, Esq. be named first Honorary Benefactor of the Virginia Museum of Fine Arts, etc. Dates- 7/38-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Trustee committee appointments 1939-40, essays by Branch about WWII, financial situation of the Museum 1939, creation of a \"Ways and Means\" committee, etc. Dates- 8/39-6/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe Branch. Subject- Branch's presidency of the VMFA Board of Trustees, staff organization (1940), plan for VA artist fellowships, \"Art in Virginia\" an article written by Colt, Museum events and daily operations, Museum investments and gifts to the Museum, biographical information on Branch, Trustee committee appointments 1940-1, etc. Dates- 6/40-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, biographical information on Branch, Museum events and daily operations, Museum investments and gifts to the Museum, winner of the first Webster S. Rhoads medal, etc. Dates- 5/41-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Thalhimer Brothers, Inc. Subject- use of VMFA's Medieval Gallery for British Embassy reception. Dates- 6/1/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- brochures for the VA Dance Society, VA Film Society and VA Chamber Music Society. Dates- 1963-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loaning objects to Brooklyn Museum, correspondence about museum practices, exchange publications, etc. Dates- 2/48-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- essay written by J. Carter Brown for New York University. Dates- 5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- news releases about James M. Brown becoming VMFA Director, newspaper clippings, photos of Brown, Report of the Director 1972-3, etc. Dates- 6/69-11/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff and Trustees. Subject- plans for receiving the new Director. Dates- 6/69-7/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Fred Haseltine (Assistant to Director). Subject- list of objects being offered to the Museum including: antique gold boxes, ornaments, clocks, etc., letters to the executors of the Ailsa Mellon Bruce estate, correspondence with Paul Mellon, news releases and news paper clippings about gift, photos of the galleries, etc. Dates- 8/70-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Mr. David K.E. Bruce as a Trustee, Board of Trustees business, gifts to VMFA, etc. Dates- 5/48-3/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed acquisition of the Brummer collection of Medieval art, report on collection, list of objects, correspondence to Paul Mellon, etc., later sold to Duke University. Dates- 12/65-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and the Smithsonian Traveling Exhibition Service. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Exhibition 1958, includes layouts and photos, etc. Dates- 3/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's membership on the Fine Arts Advisory Committee to U.S. Commission for the Brussels Universal and International Exhibition of 1958, committee meeting minutes 1957, committee roster, etc. Dates- 2/57-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Fair 1958, Cheek was an advisory committee member, loan, catalogue and installation lists, information on slide presentation- \"Art in American Museums\", etc. Dates- 3/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- sketches, plans of the U.S. pavilion for the Brussels International Fair 1958, information and listing of objects in the \"American Folk Art\" exhibition, etc. Dates- 1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Harry Bertoia (Sculptor). Subject- the acquisition of a Bertoia piece (Tree) shown at the Brussels Fair. Dates- 8/57-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr. Subject- D. Tennant Bryan as a Trustee, Board of Trustee and Membership Committee business, etc. Dates- 10/47-6/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. D. Tennant Bryan. Subject- Trustee/Museum business, membership to the Museum, etc. Dates- 5/51-9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. J. Stewart Bryan. Subject- Trustee/Museum business, loan of paintings for inaugural exhibition, gift to Museum, etc. Dates- 6/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Thomas P. Bryan as a Trustee, Board of Trustee business, etc. Dates- 9/58-11/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- congratulatory letter to Mr. Thomas P. Bryan on election as Mayor, Date- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. to Buchholz Gallery. Subject- proposed purchases, loans, exchange publications, etc. Dates- 4/47-8/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VMFA budget exhibit 1959 and 1966-8, resume of the VMFA Trustees before the Appropriations Committee 1964, budget requests 1960-1 and 1962-4, etc. Dates- 9/61-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of Governor's Budget Advisory Board 1965, outline for capital outlay funds dinner, invitation letter to Trustees, etc. Dates- 5/65-6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed 25th anniversary budget, correspondence about obtaining a Budget Committee for the 25th anniversary program, anniversary publications, etc. Dates- 1/60-3/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about Capital Outlay Commission dinner and theatre, etc. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- suggested order of events for Budget Advisory Committee meeting, invitation letters to the Presidents of VMFA affiliate chapters, draft of end of dinner announcement, etc. Dates- 7/61-9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- list of Governor's Budget Advisory Committee 1969, review of Museum's request for capital outlay funds to construct North Wing and theatre, etc. Dates- 4/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- roster of Governor's Budget Advisory Board 1967, outline for Cheek's remarks to Budget Advisory Committee, etc. Dates- 1/67-5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- roster of Governor's Budget Advisory Committee members 1972-4, request for hearing, dinner invitations for Advisory Committee, etc. Dates- 5/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers and news releases about the addition to the Museum. Dates- 6/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to other U.S. art museums. Subject- installation and advice on purchasing an air conditioning system. Dates- 5/53-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Wm. Rhodes. Subject- correspondence about air condition system failure. Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- addition and renovation to the Museum, proposals and preliminary studies by Mr. Merrill Lee, Architect, copy of a Architects and Consulting Architects Contract, etc. Dates- 12/49-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard primarily with Architects M.C. Lee and Eggers and Higgins. Subject- schedule of interior installation, list of architects bills, building inspection, review work/progress, photographs of progress of additions to the Museum 1953, etc. Dates-12/48-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the proposed addition the VMFA 1949-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Baskervill and Sons (architects and engineers) preliminary drawings, schedule for construction project, etc. Dates- 7/64-12/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Attempt by the United Daughters of the Confederacy to expand their facility on the block. The Museum's and the Virginia Historical Society's attempts to stop them and acquire the land for their own use. Dates- 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about equipment needed to supply music to members' quarters, lobby area and galleries. Dates- 7/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- information about sound equipment. Dates- 6/54-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information on purchasing folding and stackable chairs. Dates- 8/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- extending the rise of freight elevator. Dates- 8/53-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- proposals and layout for a film production unit to be located in the new wing (to make interpretative sound films). Dates- 7/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information, blueprints on changes to and installation of kitchen equipment. Dates- 6/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- the proposed purchase and installation of photographic equipment, correspondence with other art museums about creating and maintaining a darkroom and staff photographer. Dates- 8/53-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- blueprints of check room, information about coat, overshoe and umbrella racks for the Museum check room. Dates- 9/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information about seating for the theatre and auditorium, blueprints of the auditorium. Dates- 8/53-8/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of machinery and equipment needed for the new shop. Dates- 8/17/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about chandelier for front entrance of Museum. Dates- 9/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M.C. Lee, Architect. Subject- alterations and additions to the Museum, color samples and specs for painting and finishing, etc. Dates- 8/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains amounts of pledges and names of donors giving money for new galleries.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Gallery floor plans: VMFA, Brooklyn Museum, Victoria and Albert, British Museum, Art Institute of Chicago, Walters. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Merrill C. Lee, Architect. Subject- progress photographs and negatives (north wing). Dates- 5/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Architects: contractual agreements, VMFA design program, Capital Outlay Appropriation, alteration, additions, cost estimates, expenditures, contracts for Doyle and Russell and Merrill C. Lee (AIA). Dates- 12/48 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- blueprints of a darkroom and information about and catalogs of photographic equipment. Dates- 8/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns securing restricted material such as steel for post-wartime construction. 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Mrs. J.G. Pollard. Subject- Economic Stabilization Committee (ESA) search for qualified women employees, ESA headquarters to be located in Richmond, federal government regulations that established ceiling prices for all commodities and services (except those specifically exempt) upon the basis of prices in effect between 12/19/50-1/25/51. Dates- 2/51-12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Final Statement Museum Of Fine Arts Richmond, Virginia\", contract dated June 9th, 1952. Financial statement/contract from Doyle and Russell Construction. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Terra cotta statues at the North entrance to the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Original Building: \"Manual On The Planning And Execution Of State Capital Outlays\", 9/1/44, contracts: Doyle and Russell (Building Contractors) and Merrill C. Lee (AIA). Detail for additions and deletion from original building. Design contracts and inspection reports. Dates- 1952 - 55, 1966, 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Brochures, drawings, correspondence 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- information on red carpet and padding for the front entrance. Dates- 8/51-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Meeting with Interior designers 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding plants around the Waddy fountain. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- the Richmond Junior League's proposed campaign to raise money for construction of South wing for the Museum, working papers for and final copy of the pamphlet: \"The Virginia Museum Needs Wings\", etc. Dates-12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- renovations and construction of a new wing to the Museum, Cheek's comments on preliminary and revised drawings, and construction progress, Architects and Consulting Architects Contract (Merrill C. Lee, Architect, Eggers and Higgins, Consulting Architects), an essay \"The Virginia Museum of Fine Arts Need for Completing Its Addition\", etc. Dates- 1/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information relating to addition to Museum, several reports including: Building Program 1950-1, Addition to Building 1949-50, The Virginia Museum of Fine Arts The Need For Completing its Addition, History of Appropriation for Construction (1948-53) ,also, notes for Sen. Gray about Museum addition (1952). Dates- 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- miscellaneous daily and general building maintenance. Dates- 2/60-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Governors Stanley and Battle. Subject- improvements on Museum building and completion of new wing (1954). Dates- 12/50- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject-construction/installation of American and English galleries, alterations to Medieval hall, blueprints, etc. Dates- 7/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- information on purchase of steel lockers, blueprints, etc. Dates- 4/54-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about ordering office furniture designed by Eero Saarinen. Dates- 8/64-1/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Alfred Geiffert, landscape architect. 1949-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- analysis of situation concerning the parking lot and planting, etc. Dates- 8/66-10/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Budget Estimates for landscaping the grounds of the Museum around addition, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information and bids on purchasing lighting and steel storage equipment. Dates- 11/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- info on purchase of supplies for dining room/cafeteria: placemats, traymats, doilies, napkins, matches. Dates- 1/55-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains plans for the Waddy Fountain, and furnishing brochures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Carl Milles, donor of the Little Triton Fountain 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- marble chips for garden court fountain request for information about installation of mosaics in garden court. Dates- 8/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed purchase of wall coverings for new galleries (movable partitions and door headers). Dates- 2/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- commission to decorate behind refreshment counter in the new building, commission switches from Julien Binford to Richard Q. Yardley. Dates- 6/54-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Richard Q. Yardley Mural in the refreshment room. Also contains information on Julien Binford who was originally retained to do the mural before Yardley. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Public Works Administration Grant for Museum addition, application to National Production Authority (N.P.A.) for assistance in obtaining materials for proposed Museum construction. Dates- 10/35-9/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- staff requests for facilities and equipment, list of private funds for Museum addition, Board resolution about the construction on the building, etc. Dates- 7/48-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- drawings of proposed Museum addition, Special Building Committee procedure in dealing with Appropriations Committee of the House of Delegates, etc. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and New York City Museums: Metropolitan, Guggenheim, MOMA, and Whitney. Subject- Extended loans of paintings and sculpture for the VMFA's new wing of Contemporary Art, scheduled for Jan. 1970. Correspondence from L. Cheek to John Walker to address the Collectors Circle. Dates- 7/69 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- report on budget dinners 6/65, Cheek's itinerary for talks 1965, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and Joseph Whitehead (Interior Designer). Subject- Interiors of the New South Wing, Fabric sample enclosed. Correspondence between L. Cheek and Bernard Bothner of the Brooklyn Museum. Subject- Resources for slides to accompany the reinstallation of the Egyptian Gallery. Dates- 6/66- 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposals for gallery orientation theatre systems. Memo To VMFA staff regarding upcoming Fellows meeting. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to other museum directors. Subject- Request for slides of recent building additions to their respective museums, to prepare for a presentation to the Virginia Legislature. Dates- 4/65 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey conducted by L. Cheek to determine the necessity of a sprinkler system in galleries. Letters, cards of response and survey results. Dates- 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains brochures and catalogs 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photos of preliminary architect's drawings, preliminary cost estimates, etc. Dates- 7/62-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Information concerning the MOMA 30th Anniversary, building funds drive with text of building/expansion plans, \"Toward The New Museum Of Modern Art\" , 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- review of presentations to the Art Commission, photos of other art museum additions, statements about addition (Mr. Wallace K. Harrison and Mr. Frederick D. Nichols), etc. Dates- 9/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sculpture garden fountain and the renovation of the theatre lobby. Dates- 7/76 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Wm. Higgins. Subject- Membership drive/ New Wing opening, progress reports to members of the Board, financial statements: cost estimates, design fees, operating fund, construction timetables. Fact sheet relating to history of VMFA. Signficant dates for the Virginia Museum, \"History of North Wing Construction\". Dates- 4/71 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nicholas and C. Chamberlayne (Hardwick). Subject- Progress timetable, architectural engineering/ landscape/ interior design. Revisions/ alterations to construction, cost estimates, instructions to bidding contractors. Review by building committee of the Board of Trustees. Minutes of the building committee, 2/25/72, drawing/plans. Dates- 1971 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nichols and C. Humelsine. Subject- North Wing plans, justification and description, funding, appeal to legislature to win support for North Wing funding. Rosters: Appropriations committee, finance committee, Governor's budget advisory committee. Essay- \"The Unique, Pioneering Virginia Museum\" and \"Facts on the Virginia Museum of Fine Arts\". Dates- 1967, 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson and L. Cheek. Subject- Original design of North Wing per L. Cheek and Baskerville (AIA), later rejected by the Arts Commission. List of significant dates with regard to North and South Wing additions. Minutes of Special building Fund committee, 3/11/65, original building proposal, photographs. Bulletin vol.26, no.2 10/65. Dates- 9/65 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs/Plans/Drawings from Baskerville and Son (AIA) for:entrance hall, basement/sub-basement, site plan elevations/cross section, gallery floor plans and views of entire block.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nicholas and L. Noland (building committee). Subject- Construction, architectural engineering, capital outlay, construction bids, plans and contract documents. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- blank order forms labeled VMFA NPA Regulation No. 4. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. J.G. Pollard. Subject- National Production Authority (NPA) regulations, order listings for maintenance, repair and operating (MRO) supplies, regulations about using the DO-97 rating (Form used to obtain MRO supplies), quota for the 4th quarter 1951, etc. Dates- 3/51-7/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about construction and funding (some PWA) of a wing to the Museum, publication: Working Relationships Between Private Architects and Engineers and the Commonwealth of VA (2/44, Governors' office, Division of the Budget) and The General Conditions of the Contract for the Construction of Buildings (standard form of the American Institute of Architects). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Doyle and Russell, Building and Industrial Construction. Subject- Bronze founders tablets, frames, building inspections and taking over and operating the building 10/35. Dates- 8/35-10/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Peebles and Ferguson, Architects, Norfolk. Subject-blueprints (including detail of the Portuguese Room dated 9/18/35), maintenance and furnishings (benches, plaques, interior painting, etc.) for the Museum. Dates- 4/35- 6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Ferguson, Meakin and Moore, Architects, Norfolk. Subject- reproductions of drawings of proposed south wing, drawings, bids, etc. Dates- 10/37-5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans and Correspondence 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photos of drawings showing the proposed additions and alterations to Museum. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans and correspondence regarding the memorial plaques around the building: R.E. Lee Camp, Waddy and the Old Dominion Foundation fountains. 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- construction/installation for the Pratt collection, blueprints, progress reports to Mr. John Lee Pratt, etc. Correspondence with Milton Samuels of French and Company who designed the installation, including quotes for fabric, carpet, cases, carpentry, lighting (including the chandelier). Cheek asked Pratt to fund it and he agreed. Lots of invoices. Dates- 6/54-5/55.   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Baskerville and Sons, Architects, 3/11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about building models, preliminary drawings, furnishing and equipment catalogues, etc. Dates- 4/65-12/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence and statements from Marcellus Wright and Son. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and Merill Lee (architect) and Chairman of the Building and grounds committee, concerning construction of the service area. Dates- 1/59 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Eggers and Higgins, Architects. Sketches and drawings 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., J.M. Brown and Erwin H. Will (VMFA President of the Board). Subject- all aspects of construction of the South Wing, additions and alterations to Museum, landscaping, fountain, parking lot, etc. Dates- 12/66-3/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of South Wing construction conferences 1969-72, outline of construction to South Wing, etc. Dates- 1969-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Governors Dinner/Event in celebration of the South Wing: program agenda, menu, dedication plans, News Media reception, Rosters: House of Delegates, Senate, Trustees. Key presented to Governor Linwood Holton donated to the archives by Anne Holton November 3, 2022. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Capital Outlay requests, individual project descriptions, preliminary plans, tabulations of construction bids, estimated income sources, floor plans, budgets, invoices, Executive Committee Minutes and Building Committee Minutes. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Erwin Will. Subject- New duct layout for the South Wing attic space: revisions necessary due to mistakes in original drawings and improper work. Financial statements. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA Charter, Act of March 27, 1934. Design program (2/18/49) Phase II, museum enlargement, boiler replacement, contract cost estimates, committee no.279-A, addendum no.7 to the drawings and alterations to VMFA. Theatre light control system, weekly project inspections. \"General Conditions Of The Contract For Capital Outlay Projects\". Dates- 2/52 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and members of the building committee. Subject- Proposed additions, rejection of north facade by Arts Commission. Excerpts from Minutes of Art Commission Meeting, 6/4/65, 7/9/65, 7/29/66. \"The Virginia Museum Opens The New South Wing\", Press package, Brief History and Signficant Dates of VMFA, photographs. Dates- 1965 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Supplemental Agreement #2: Additions and alteration to various aspects of structural design contracts. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Interior construction and design. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment purchasing list, blueprints of theatre, installation of theatre and projection equipment and an orchestra lift, local building committee meeting minutes, etc. Dates- 7/53-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment: bronze stands and velvet ropes. Dates- 1/55-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Construction blueprints and plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letter of invitation to Trustees, former and current, to celebrate the construction of the North Wing, seating arrangement and timetable for event. Letter to Gov. Holton concerning ground breaking ceremonies and gala dinner. Dates - 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Col. Anderson. Subject- proposal for theatre for Museum, possible recreation center for armed forces stationed in Richmond. Dates- 2/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Waddy Memorial and Triton Fountains 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- B.F. Ruskin and Associates 1953-55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- committee reports on funding for construction of addition to the Museum, schedule of payments to date (12/4/50 and 12/20/50). Dates- 10/50-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- additions and alterations to VMFA 1955, list of Museum alterations and additions to date 6/15/55 by Merrill C. Lee, Architect, VMFA Noise Survey CA 9687 (1955), blueprints, etc. Dates- 1/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains architectural plans for the first addition to the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- cost estimates/proposed funding for Museum addition, copy of the resolution to establish a Local Building Committee, announcements, replies and minutes of Local Building Committee meetings 1950-2, etc. Dates- 1/46-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Local Building Committee, 1951-54. Information regarding the local contractor. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- minutes and outlines of VMFA Building Committee meetings 1952-3. Dates- 6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr., and G.D. Gibson (Chairman of the VMFA Building Committee). Subject- addition to Museum building, listing of additions and alterations to the building, agenda and minutes of Building Committee meetings 1953-4, etc. Dates- 9/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- addition to Museum building, minutes, announcement and agenda for VMFA Building Committee meetings 1954-5, list of contributors to Museum Building Fund, etc. Dates- 7/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by G.D. Gibson (Trustee). Subject- installation of Museum equipment, minutes of the Buildings and Grounds Committee meetings 1955-6, etc. Dates- 9/56-12/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains lists of expenditures, list of private donors with amounts donated for the addition to the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA Local Buildings and Grounds Committee meeting minutes 1948-56, listing of committee meeting dates 1948-56. Dates- 1948-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard to Senator Garland Gray. Subject- information about planning costs for addition to Museum building, Museum business and events, etc. Dates- 5/51-7/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of the Museum's members bulletin. Vol.1, No.8, Vol.7, No.'s 1,4and6, Vol.8, No.'s 5and8, Vol.9, No.'s 1,2and4, Vol.10, No.'s 1,2,7and8, Vol.11, No.'s 1,2,3,4,5,6,7and9, Vol.12, No.'s 8and9, Vol.13, No.'s 6and9, Vol.14, No.'s 1,3,6,7,8and9, Vol.15, No.'s 3,4,5,6,7,8and9, Vol.16, No.'s 1,2,3,4,5and6. Dates- 9/46-2/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Bulletins with general information and a survey of sources of income, private and public, from various museums. Dates-1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 1962-1966 Donations, Trustee File. Dates- 7/55 - 12/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and members of Board of Trustees. Subject- Revision of By-laws and Memorial Fund Policy, revisions and recommendations, minutes from sub- committee on By-laws. Dates- 1958 and 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA By-Laws (revised and adopted 5/51, 5/53, 6/54), Notice of Amendments to By-Laws (6/50, 5/53, 6/54), VMFA Organic Laws, etc.. Dates- 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Senator Byrd. Subject- amendment of IRS code Sec. 863, exempting works of art loaned for exhibition in this country from federal estate taxes. Dates- 7/51-10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard, and L. Cheek, Jr. to individuals, institutions and companies beginning with the letters Ca-Cn. Subject- varied, including four letters from Alexander Calder about Museum purchase of one of his pieces. Dates- 8/45-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek. Subject- Loans of artwork, Trustees, Fellows, Mary Callery (juror, 1963 Va. Artists Exhibition). Accessions and gifts: Tree, Callery; Han Dynasty pottery; Nanny, T. Sully. Dates- 2/59 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and P. Near to J. Brun and H. Jucker. Subject- Acquisition and provenance of Caligula, Newspaper clippings. Dates- 1971-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, his term as Treasurer of the Fellows. Dates- 1/60-6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. John Canaday (from University of VA). Subject- Christmas card design by Canaday, loan of a sculpture show, jobs, etc. Dates- 5/49-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Capital outlay requests for parking area, South Wing, Entrance Improvements, Expenditures and revenues for the year ending 6/1960. \"Instructions for Form c-54-A (individual project report)\" from Commission on State Capital Outlays and Means of Financing. General Endowment Income 1960-61; Capital Outlay for Galleries, landscaping, Egyptian gallery and North Wing, 1935-60. Collections for which there is inadequate exhibition space, list of cultures that are not represented or under-represented, roster of members serving on the \"Commission on State Capital Outlays and Means of Financing. Dates- 1960-61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Includes Frances Benjamin Johnston acquisition.","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- officers from the Carnegie Corporation visiting Richmond and the Museum. Dates- 8/55-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to F. Anderson (Carnegie Corporation). Subject- Experimental use of Carnegie Collection of Materials for the Instruction of American Culture and funding of Collegiate Artmobile IV. Proposal, '\" An Artmobile for Virginia Colleges\", March 1965, Supplement, A Statewide Stimulus for Education in the Humanities, Statement of purpose, photocopy of partial grant payment. Dates- 1/58-7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Carnegie Corporation of New York and Carnegie Institute, Department of Fine Arts. Subject- Frances Benjamin Johnston acquisition, requesting a grant, requesting loans for inaugural exhibition, counsel on museum practices. Dates-8/35- 12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Carnegie Trust. Subject- a visit to Richmond by officers of three British Carnegie Foundations, information on Carnegie Trust 1954, etc. Dates- 8/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Secretary of Carnegie Dunfermline Trust. Subject- Roster of Carnegie Delegation visiting VMFA; Annual Report- Carnegie Dunfermline Trustees, 1960. Dates- 7/59-60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- job of Technical Director of the Theatre Division, etc. Dates- 6/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lists of 25th Anniversary donors; VMFA presidents and terms of office 1935-60. Essay- \" The Arts In Virginia\", Walter S. Robertson (Pres. VMFA). Essay- \"Collecting In America\", Alfred Frankfurter (editor and Pres., Art News) Dates- 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of orders for and purchasers of the Healy's Sitters Catalogues, thank you notes for exchange publications, list of relatives of Judge John Barton Payne, etc. Dates- 4/51-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Jaquelin-Ambler Portrait catalogs, listing of the members of the Jaquelin, Ambler and Broadnax families. Dates- 11/48-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- a fellowship set up by the Catherwood Foundation (previous owners of the Dali jewels) to be used for travel/education in Europe, information about transporting Dali jewels from the Museum. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fellowship for artists provided by the Catherwood Foundation and awarded and administered by the VMFA that year. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. William Gaines and L. Cheek, Jr. and M.B. Christison (Assistant Director). Subject- Gaines biographical information, Catherwood Foundation fellowship recipient, application, recommendations and award letter for fellowship, list and some photos of work submitted, etc. Dates- 3/56-11/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual luncheon and tour. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Century Lighting Co. Subject- lighting for the artmobile and theatre, etc. Dates- 6/53-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets from the Convention and Tourist Bureau (Richmond). Dates- 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- pamphlets from the Virginia Chamber of Commerce. Dates- 5/49-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Restoration of Old Botetourt Hotel, Gloucester, Va.; Programming instructions for \"Civilization\" Film Series; proposal and budget for statewide broadcast of Affiliate promotionals. Rosters of Affiliates, Chapters and Confederation Officers; Minutes of \"Executive Committee Meeting\", 10/72; maps, postcards, press release, newspaper clipping, photographs. Dates- 2/67-7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Winter Conference agenda, participants, newspaper clippings. Dates- 12/71-3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal and budget. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Affiliate/Chapter offices Museum Lecture/Tour; roster of Officers, speaking schedule, events, remarks for each engagement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prototype for letter to be sent from all VMFA Chapter Presidents to convince Legislature of the need for new building. Dates- 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dali Jewels. Date- 7/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. primarily to realtors and lawyers. Subject- sale of Cheek's property \"Faraway Farms\", information on sale of Chebry Co. property, etc. Dates- 6/50-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to T.C. Colt, Jr. from L. Cheek (when he was Chairman of the Fine Arts Department at The College of William and Mary and when he was Director at the Baltimore Museum of Fine Arts). Subject- art in Virginia, counsel on museum practices, etc. Dates- 12/36-1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- The retirement of L. Cheek, Trustee dinner honoring the occasion, presentation of \"Thomas Jefferson Public Service Award\", with remarks by Lt. Gov. F.G. Pollard; South Wing construction; invitations and newspaper interview with L. Cheek. Dates- 1/65-3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W.S. Robertson and Morton Thalhimer. Subject- Letters of moral support, press releases and newspaper clippings announcing the resignation of L. Cheek (decision later recanted). Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding L. Cheek's reconsideration of his resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resolution from VMFA Council regarding the outstanding contributions of L. Cheek. Includes letters from and too supporters. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Replies to his reconsideration of resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Text from interview of 11/2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- PR, decorations, lecture, etc. Dates- 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memo to VMFA staff, PR, agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Thank you letter from by a class participant.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding classes at the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Registration information and class lists.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison. Subject- installation of collections and exhibitions, Museum programming, biographical information, etc. Dates- 10/54-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. Christison. Subject- scripts and working papers for children's radio program (\"Treasure Trails\" on WRVA), listing of slides for Season Survey and information on a Life magazine photo exhibition entitled \"Egypt\". Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vouchers and receipts for travel expenses, 1948-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Christmas cards received by the Museum, a copy of the Museum Christmas card (1956), Information about a Christmas tree in the Members' suite, etc. Dates- 11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Commission of Virginia Artists to design Christmas Cards; rosters: Board of Trustees, A.A.M.D., newspaper clippings, cards, photographs. Dates- 1966-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- ordering Christmas decorations. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz, Sydney and Frances Lewis. Subject- Remarks by J.M. Brown on the dedication of the North Wing and on his resignation. Andrew W. Mellon Foundation, Lewis gift of funds for Art Nouveau purchases, Noland gift of \"Rotating Sphere\", reattribution of the Jewel casket. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Controversy concerning gift of Walter P. Chrysler, newspaper clippings, and Chrysler newsletters, 1973-75. Dates- 1969 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Henry Clay Hofheimer and J.M. Brown. Subject- New wing, correspondence between the Executive Board, the closing of the Chrysler Museum School, operating budget, accessions, list of objects. Minutes of Executive Board, 2/8/72. Transcript of William L. Parkers, et al complaints vs. Walter P. Chrysler Jr. et as Defendants. Dates- 1972 - 33 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Chrysler collection exhibition at the Museum and possible Artmobile tour, listing of pieces in collection, etc. Dates- 9/49-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Loan Exhibition for Church Silver of Colonial Williamsburg, outline for proposed exhibition, budget, letter drafts to Church Wardens, lists of Episcopal Churches owning Church Sliver, Format for catalogue. Dates- 7/68-4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about proposed reproduction in miniature of a Cigar Store figure from the Museum collection. Dates- 7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed reproduction in miniature of American cigar store figures from the Museum collection. Dates- 5/56-12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek Subject- Civil War Centennial Exhibition, agenda, maps, newsletters, VMT copy of \"Certificate of Award\", conferred on the Virginia Civil War Commission. \"Virginia Joins The Confederacy, Chronology of Events November 1860 through 1861\", Civil War Centennial, 1961-1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's membership on advisory council of the Civil War Centennial Commission, site development study for proposed Confederate Memorial Park in the Museum area, \"Report of the Preliminary Plans of the Virginia Civil War Commission to the General Assembly\" 12/59, etc. Dates- 5/59- 12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Programming, Ticket Stubs, newspaper reviews, news releases, photographs. Dates- 7/70 - 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Joseph Lucas (pres. Civitan Club) [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Resume of Cleveland Museum President, Sherman Emery Lee with photo, Cleveland Plain Dealer Interview \"Sherman Lee's Double Life\". Dates- 12/55-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Clopton complaint about film tickets. Dates- 2/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- membership in The Poetry Society of Virginia. Dates- 2/53-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr., to individuals, institutions and companies beginning with the letters Co-Cz. Subject- varied. Dates- 8/45-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., L. Cheek and J.M. Brown. Subject- Geri Melchers Memorial; Minutes of Annual Meeting 1962; Minutes of Executive Committee Annual Meeting 1962; restaurant feasibility. Dates- 1957-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arranging a lecture by Mr. Alexander S. Cochran, Architect in conjunction with the exhibition \"Domestic Architecture of the San Francisco bay Region\", biographical information, etc. Dates- 10/49-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, gifts. Dates- 6/54 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the American Association of Museums (AAM). Subject- copies of the Code of Ethics for Museum Workers 1925 AAM report. Dates- 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Remarks on \"The Relation of Trustees and Professional Staff of General Art Museums\", delivered by Charles Nagel 5/17/69,  \"Code of Ethics for Museum Workers\" 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rhodes Rathskellar, proposals for lunchroom: use by staff, volunteer personnel, policy on break schedule and lunch periods. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from P. Near and Peter Mooz. Subject- Checklist of the status, strength, weaknesses and needs of the VMFA. Damage report, gifts of artworks and accessions, Art Purchase Fund, press releases. Letters to Christo and Robert Rauschenberg. Dates- 1976-77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, letters, newspaper clippings and information from dealers, prices regarding possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, prices and other information relating to possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (assistant Director for Collections and Education). Subject- listing of possible additions to Museum's collections 1953, information and some photos of objects considered for acquisition, correspondence with art dealers, etc. Dates- 12/51- 11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- listing of possible additions to the Museum's collections, information and some photos about objects considered for Museum acquisition, correspondence with art dealers, etc. Dates- 1/53-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near, F. Brandt and P. Mooz. Subject- Reorganization of the Collector-of-the-year. 1975- Mrs. Lummont du Pont Copeland Collection on Export Porcelain. 1977- David Lloyd Kruger Collection of Contemporary Art. 1978- Hugo Weisgall Collection, list of objects, copies of scores for the Weisgall Concert catalog. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from P. Near to members. Subject- Collectors circle event with lecture by Caroline Keck. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Cultural exchange, Minutes of Executive Committee of C.A.A., 1/62, 4/62, Minutes of Annual Meeting, 1971; Minutes of C.A.A. Business Meeting, 1/62; revised draft of \"Policies and Purposes\", roster of officers, Directors and committee members; Essay- \"The Visual Arts in Higher Education\". Dates- 1/62 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List for reception/cocktail party, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Preston L. Collins (Lt. Governor). Subject- announcements of Trustee meetings, invitations to Museum events, replies, etc. Dates- 5/51-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. to staff of Colonial Williamsburg. Subject- museum methods. Dates- 7/46-12/54.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- general correspondence with staff of Colonial Williamsburg, information on Cheek's speaking engagement with Williamsburg Rotary Club, etc. Dates- 2/54-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and the President of Colonial Williamsburg. Subject- loan of display units to Colonial Williamsburg, museum practices, etc. Dates- 3/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Colonial Williamsburg. Subject- correspondence about the Williamsburg Antiques Forum, publications/mailings about Antiques Forum 1964,'66,'67,'73, etc. Dates- 5/66-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- detailed letters about the goings-on at the Museum while Colt was serving in WWII, also letter from Mrs. Alfred DuPont about art education. Dates-8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. J.G. Pollard and others. Subject- record of Colt's military service, his resignation to serve in WWII. Dates- 11/42-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Columbia Records presented 55 recordings of the New York Philharmonic Orchestra to the VMFA in 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of \"On Fine Arts in Modern Society: A Research Proposal Prepared for the Virginia Museum of Fine Arts by the Columbia University Bureau of Applied Social Research\". Dates- 5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices with The Columbus Gallery of Fine Arts (Columbus, OH) and Columbus Museum of Arts and Crafts, Inc. (Columbus, GA). Dates- 3/51-8/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to the Board, list of appointments, etc. Dates- 1959-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of committee appointments 1963-4, invitations to Trustee committee appointments, etc. Dates- 8/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to Board and replies, list of appointments, etc. Dates- 1958-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and W.S. Robertson (VMFA President of the Board). Subject- VMFA roster of Trustees 1964-5 and 1965-6, Board committee appointments 1965-6, invitations and responses to Trustee committee appointments, letter about Board term limitations (proposed limitation 2 successive terms of 5 years each), etc. Dates- 6/64-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek correspondence as a member of Committee for International Cultural Exchange (CICE), etc. Dates- 6/61-2/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- suggested projects for Public Relations and Development committees, proposal for the Museum by the P.R. counseling firm Earl Newsom and Co., etc.. Dates- 3/54-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from State Department of Purchases and Supply. Subject- information about choosing stationary, samples for new state letterhead. Dates- 9/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"A Report to the Virginia Museum of Fine Arts 11/19/58\" from the viewpoint of its public relations information and communications responsibilities and program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- information and memos about arrangements for community college presidents to meet at the Museum. Dates- 12/70- 1/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- cooperative arrangements between VMFA and Va. community colleges, Virginia Community College System Annual Reports 1969/70 and 1970/71, proposed programs for community colleges, etc. Dates- 10/70-8/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complaints from Museum visitors about exhibitions, entrance fees, membership rates, guards, etc. Dates- 12/63-7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Museum operations: food service, VMT, membership, discontinuation of dinners in the galleries and newspaper clippings. Dates- 1974 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- guest list for complimentary cocktails in honor of officers and Museum volunteers from the Council, Jr. League and Theatre Affiliates, roster of Jr. League officers 1970-1, etc. Dates- 9/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Erwin H. Will (VMFA President of the Board). Subject- arrangements for a luncheon held in honor of officers and Museum volunteers from the Council, Junior League and Theatre Affiliates, guest list, suggested remarks for Mr. Will at luncheon. Dates- 9/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- miscellaneous Thank you's and compliments about gift and exchange publications, exhibitions, programs, the Museum in general and Cheek's responses. Dates- 2/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence from the public complimenting the museum in some way. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. and W.S. Robertson (President of the Board of Trustees). Subject- Complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 7/60-12/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 1/64-11/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on programs, theatre productions, museum in general and his responses. Dates- 7/66-10/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Various museum operations. Dates- 1972 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- compliments about 25th anniversary exhibitions, events and catalogue: Treasures in America, \"A Tribute to Virginia's Unique Museum\"-a Sunday newspaper supplement, etc. Dates- 1/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for VMFA European catalogue, an exchange publication. Dates- 5/66-9/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Faberge catalogue: Russian Imperial Jewels, a VMFA exchange publication. Dates- 12/60-2/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- compliments and thank you's for gifts/exchange publications of Russian Imperial Jewels, the catalogue of the Museum's Faberge collection. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Architecture in Virginia, a VMFA exchange publication. Dates- 2/68-5/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for William Hogarth, A Loan Exhibition of Paintings, Drawings and Prints, a VMFA exchange publication. Dates- 1/67-3/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Painting in England 1700-1850, Collection of Mr. and Mrs. Paul Mellon, a VMFA exchange publication. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on \"Painting in England\" exhibition (Mellon Collection) and his responses. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for The World of Shakespeare, a VMFA exchange publication. Dates- 1/64-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Form letter from the President to potential members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J. G. Pollard. subject- Letters to Trustees regarding 25th anniversary fund and letters to new members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- performance at Mosque of \"The Confederacy\" as a benefit for the Artmobile, project later abandoned, Date- 11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- drawings of the site of the Confederate Memorial Chapel, landscaping plans, etc. Dates- 7/66-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Richmond Times-Dispatch article \"The Old Soldiers Faded Away Home Here is Vacant\". Dates- 1/16/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitation to Director of the Norfolk Museum to Confederation workshop. Dates- 5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- congratulation and reply letters on the installation of Mr. James M. Brown as VMFA Director. Dates- 6/69-6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of objects from the Glasgow bequest and purchase fund currently exhibited in Museum galleries. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Mrs. Anthony Congreve. Subject- biographical information on Arthur and Margaret Glasgow, correspondence about Glasgow fund for purchasing works of art, listings of purchases made with Glasgow Endowment Fund 1966-72. Dates- 11/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz. Subject- Physical plant restoration project: cleaning of VMFA interior and extensive improvement of motor park, project data summary, Conservation Laboratory: construction and equipment, supply expenditures, budget. Grant application: \"Proposal for Virginia Museum Conservation Laboratory\", employment contract, job descriptions, resumes of prospective applicants. Dates- 1975 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- biographical information arrangements for giving lectures/seminars at the Museum, VMFA Members' Bulletin vol.23, no.9 5/63, etc., Date- 11/50-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for securing speakers for the \"Fireside Series\" proposed art talks held in the library, Thank you's to speakers, etc. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loans of objects between VMFA and Corcoran Gallery of Art, correspondence about museum practices. Dates- 3/51-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Katharine Cornwell. Subject- biographical information on this actress, invitation to come to Richmond to see a show and promote TheatreVirginia. Dates- 5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets and post cards from the Corning Glass Center. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information on obtaining assistance from philanthropic organizations and corporations, etc. Dates- 2/55-12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by E.H. Will (VMFA President of the Board). Subject- solicitation letter for corporate patrons, information on corporate patrons program, roster of Richmond corporate patrons 1970, invitations to corporate patrons gala, etc. Dates- 12/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by E.H. Will (VMFA President of the Board). Subject- solicitation of corporate patrons, pamphlets about corporate patrons program, publications for the corporate patrons gala, etc. Dates- 7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- roster of Richmond and of state corporate patrons 1971, planning for \"Fete Aux Galleries\" the corporate patrons event 1972, invitations and guest list for event, etc. Dates- 6/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Exhibitions, condition reports, insurance, gifts and purchases. Essay- \"Successful Adult Museum Programs\", M. Christison. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Velz.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) primarily, also L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- varied. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- General correspondence regarding publications, museum practices, exhibitions, pamphlets. Letter from Alexander Calder. Dates- 7/56 - 12/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Ford Foundation grant-in-aid program, Fogg Conservation Symposium and the Chrysler Collection. Photographs, cesolution recognizing the outstanding contribution of L. Cheek by the VMFA Council. Draft of \"Standards For Museum Practices\", SEMC, 1958. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition of American Silver, jurors for 1965 ADP exhibition, biographical data, 25th Anniversary exhibition and list of objects for loan. VMFA film series, press releases for \"The Little International\" from the Olsen Foundation and the Artmobile. Dates- 1958 -1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and VMFA Council officers. Subject- Council roster 1957-8 and 1958-9, listing of charter members, council-sponsored events and programs, lecture series schedule 1957-8 and 1959-60, statement of purpose of the Council, minutes of general meetings 1962 and'65, Executive Committee meeting minutes 1962 and '63, acknowledgments of gifts to the Museum, etc. Dates- 7/56-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown with the VMFA Council. Subject- Council gifts, Council -sponsored events and programs, preliminary drawings for Council shop office, breakdown of Council Contribution Fund 10/70 and 11/70, etc. Dates- 2/66-4/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for corporate patrons ball, roster of Richmond and of state corporate patrons, roster of Council committee for the ball, invitations and guest lists for ball, etc. Dates- 10/70-3/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- outline of the organization of the VMFA Council, Council Program 1955-6, Council of the VMFA Charter Meeting and Articles of Association, \"Friends of the Museum Constitution\", etc. Dates- 5/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- VMFA Council Contribution Fund analysis 1971 and'72, various Council sponsored events and programs, agreement between VMFA and the Council 10/20/70, A Short History of Council Gifts to Museum 1955-71, The Council of the Virginia Museum Directory 1971-2, general correspondence between Council officers and VMFA staff, etc. Dates- 1/71-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Council Trustee Contribution Fund, conservation laboratory, library, state services, fellowships and internships. Profit and loss statements, general ledger trail balance, Art Purchase Fund, staff expenses, VMT financial statements, matching funds for NEA Grant. New Council Shop, furnishings, installation, etc. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposal to establish fellowships for professional craftsmen (resident Craftsman Program), letters from interested craftsmen, etc. Dates- 2/63-2/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- proposal of a story about the Museum for Time-Life magazines, reference made about a reproduction of a Watteau from the Museum's collection appearing in Time. Dates- 11/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Monica Hamm and P. Mooz. Subject- Head of publications, editor of AIV and advisor for photography exhibitions. \"Focus On The Arts\", Pat Becker. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- fact sheet about VMFA, House bill no.862 was about establishing a Virginia Commission of the Arts and Humanities, transcript of the VMFA presentation by E.H. Will (VMFA President of the Board) to the Virginia Assembly, Rules Committee asking to kill or amend the bill, etc. Dates- 1/68-2/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- roster of Virginia Cultural Development Study Commission and of the State Arts Committee, information about the creation of the Va. Cultural Development Study Commission by Senate joint resolution no.67, essay- \"The Virginia Museum and the Arts in Virginia\", correspondence about meeting with the Cultural Development Commission, \"Dissenting Opinion Report of the Cultural Development Commission\" by Dr. William H. Higgins, Jr., member of the Commission, etc. Dates- 3/66-1/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"D\". Subject- varied. Dates- 3/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- VMT, exhibition schedules, Byzantine Architectural exhibition, College Drama Festival, loans of art works, Artmobile, Horace Day, NEA proposal, pamphlets, magazine excerpts, cards, biographical data, etc. Accessions and gifts: \"The Meeting of Joachim and Anna Under the Golden Gate\", A. Duer. Dates- 10/58 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Conference for teachers and students of Dance at VMFA, master classes, lecture and performance by Alwin Dance Theatre, agenda, list of dance teachers. Date- 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, AIV. Dates- 1/61 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Virginia Architects, Designers and photographers\", Collectors Circle, Va. Artists Biennial, donations, gifts, memorial fund. Dates- 6/59 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, acting director of the Museum and Governor Darden, regarding the Museum director and the Curator of Decorative Arts, who were both on leave to the armed forces during World War II, 1942-44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with and biographical information about Carson Davenport, Virginia artist. Dates- 1936-1944.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Ms. Davis. Subject- visits to \"Faraway Farms\" (Cheek's property) Davis was apparently a housekeeper/caretaker of some kind. Dates- 2/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and donors Mrs. Lincoln Davis, and George Cole Scott and Hildreth Dunn Scott, 1937-43.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., E.M. Davis, III (Curator) and L. Cheek, Jr. Subject-restoration of Mrs. Davis' Flemish painting, gifts from Mrs. Davis, information on Museum Board accessions committee (Mrs. Davis member), etc. Dates- 10/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. Lincoln Davis. Subject- Trustee/Museum business, letter of resignation from Board, etc., 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Elizabeth Nottingham Day and Horace Day, patrons and donors, 1934-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Day's exhibition at the VMFA. Dates- 1/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard to Mr. and Mrs. Horace Day. Subject- Horace Day biographical information, exhibition record, job recommendation, newspaper editorial written by Mr. Day on American Painting, etc. Dates- 1950- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Mr. Howard Dearstyne. Subject- proposed exhibition of Dearstyne's work and speaking engagement, etc. Dates- 11/50-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chamber Music Society, Building grounds committee, gifts, donation. Dates- 1954-65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to the Earl de la Warr. Subject- a visit to Richmond by the Earl, loan of a painting to the Museum exhibition \"England's World of 1607\", etc. Dates- 4/57-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. Marie de Mare. Subject- catalogues of \"Healy's Sitters\" exhibition ( Mrs. de Mare was Healy's grand-daughter), proposed film and biography of Healy by Mrs. de Mare, etc. Dates- 5/49-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His position as Art Director of AIV, music and dance folders. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from D. Nichols (administrator), F. Haseltine (PR). Subject- VMT subscription, Executive Committee Report, Collections Activities, Public Information Report. Dates- 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- information about an exhibition scheduled From Nov.22-Dec.31, 1955 featuring merchandise available for purchase in time for Christmas. Dates- 9/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Traveling exhibition. Dates- 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- International Traveling exhibition. VMFA and Leslie Cheek were the American coordinators from 1951-1954. Lists of attendees at the opening dinner 1/15/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Design in Scandinavia\" exhibition checklist, description of the exhibition, official record of receipt and list of items received but not included in exhibition, etc. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- RSVP's to dinner held on the opening night of the exhibition \"Design in Scandinavia\". Dates- 12/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., Mrs. J.G. Pollard and M.B. Christison. Subject- exhibition catalogue information for \"Design in Scandinavia\" and RSVP's for dinner held on the opening night of the exhibition. Dates- 12/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- American Tour 1954-57. Correspondence and publicity regarding. AFA took over the circulation of the exhibition.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committees in the United States. Lists of members and minutes from meetings 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Favorable reviews of the exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copy of a New York Times article written by Cheek concerning the upcoming exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening of the exhibition at the Museum, January 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- dinner guest lists, menu, planning for opening night dinner for \"Design in Scandinavia\" exhibition, list of Board of Trustee committee appointments 1953-4, registration for Southeastern Museums conference 1953, etc. Dates- 12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- RSVP's for the dinner and other opening events for the exhibition \"Design in Scandinavia\", exhibition catalogue, information used in planning printed material for the exhibition, etc. Dates- 4/53-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject-job description of a designer for the Design and Construction division of the Museum, proposed hiring of a designer, etc. Dates- 2/54-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- floor plan and printed matter for \"Designer-Craftsmen USA\" exhibition, photos of the exhibition, VMFA Member's Bulletin vol.15, no.5 (1/55), etc. Dates-11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Strauss. Subject- 25th Anniversary, draft of appeal to enlarge endowment fund, pamphlet. Dated- 6/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for a diorama in connection with \"Orientations of Virginia's Cultural Background\", photographs. Dates- 7/61 - 6/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resolution by the Executive Committee to authorize excess travel cost by VMFA staff. Dates- 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trip itinerary, pamphlets. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Fowler, D. Nichols, B. Ryan. Subject- All manner of VMFA operation: photography budgets, payroll dispersal, VMT renovation, Artmobile, damage and security of Art works, gallery installation, loans, art purchase invoices, Theatre contract, repairs and modification invoices, grievance procedure, pamphlets, Interpol investigation of Indian sculptures, requests for establishing new positions: Vice Director for Public Affairs and Artmobile curator. \"Partnership Agreement of Artco and Company\", \"Operation Countdown\", analysis of responsibilities and time required for completion of the North Wing. Photographs, pamphlets, announcements. Accessions and gifts: 17th C. Eng. Embroidered Casket, Byzantine Bronze Plaque, Tomato Soup Can (A. Warhol), Bolt of Lightening (R. Lichtenstein), Portrait of a Lady, Payne Collection. Dates- 1/68 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, F. Haseltine, D. Nicholas, J.M. Brown, P. Near, A.W. Stalnaker, B. Ryan, Mrs. Pollard. Subject- All manner of inter-museum operations: Public information schedules, membership campaign, promotion deadlines, travel itineraries, budget proposals, etc. P. Nears observations on possible acquisitions. Dates- 7/64 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters of request, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Secretary to the museum, biographical data, job description. Museum files and the law regarding public information, records management, records to be retired, list of file classification: deletions and additions. Events schedules, agendas and exhibitions. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, A. Dohn. Subject- Letter of recognition of donations, list of donors and their gifts of art works. Dates- 1964-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Chenery Estate and Gottwald endowment Fund. Art Nouveau gift of Sydney and Frances Lewis. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMT, Fellowship Fund, Museum Classes, Chenery Estate, Art Nouveau Fund, Artmobile and Gottwald Endowment Fund. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Buyers guides, pamphlets, magazine excerpts, specifications, blueprints, lists of chapters and affiliates, photographs. Dates- 9/61 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, and L. Cheek. Subject- Gift of Dunsten Memorial, Payment record, gallery proposals, \"The Virginia Museum Needs New Wings\": appeal to membership and Trustees for building funds. Dates- 12/46 - 4/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. Alfred I. (Jessie Ball) Dupont. Subject- Donations. Contains a letter regarding her feelings in favor of segregation at the museum and in the arts. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jessie Ball duPont's membership on the Executive Board, gifts and donations. Dates- 5/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Jessie Ball duPont. Subject- Membership as a Trustee, Fellow, Chair of 25th Anniversary Fund drive, contributions and gifts, magazine excerpts, biographical information, contributions and gifts, progress report from Anniversary Fund Drive. Dates- 2/59 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and D. Hudson (state coordinator of Arts System). Subject- Salary scales for VMT, NEA grant proposals. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Exhibitions, Artmobile, VMT, Va. Fellowships, search for potential jurors, work schedules invitations, newspapers, postcards, etc. Accessions and gifts: \"Autumn Leaves\", A. Palmer. Dates- 5/46-5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agenda and letters to K. Fowler of VMT. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Wm. Heartwell and Gov. Holton. Subject- \"Minutes of Economic Resource Task Force Meeting\": 7/23/71, 9/2/71, 10/8/71, 1/13/72, 4/20/72, purpose of task force was to improve communication between various agencies and the governors office. Draft of Executive order: relationship of state agency organizations to Commonwealth planning districts, budget estimates, agendas, Bills held in House Committee for the 1973 General Assembly. Dates- 1971 -72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- C. Guinnan request for a meeting room. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from A. Stalnaker and H. Dohn. Subject- Events for Governors School for Gifted Students: schedule, housing, food service, etc. Dated- 7/73- 8/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between A. Dohn and Mr. Albertia. Subject- Student application, agendas and statement of purpose. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Event to expose students to the function, organization and operation of VMFA, timetable and agendas. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and B. Bothmer (Egyptologist, BMFA). Subject- Invitations, list of Egyptian art objects available for purchase. Dates- 9/54 - 11/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Requests for films and slides, Artmobile, loans for Egyptian Gallery, statement/remarks for opening exhibition, newspaper clippings, blueprints. Dates- 2/55 - 12/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Suggested remarks related to \"Installation of a Gallery of Egyptian Art\", loans from other museums, agendas, letters to other curators and directors. Gift of Egyptian Gallery from Mrs. James Parsons. Dates-2/61 - 4/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- early planning stages of the exhibition \"England 1607\", list of pieces in, list of lenders to the exhibition, installation schedule and exhibition description, printed materials, \"Status Report on the Museum's Jamestown Festival Program\", etc. Dates- 6/54-8/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gallery opening made possible through gifts of china from Lady Nancy Astor, invitations and loan requests. Dates- 4/61 - 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- invitations to these exhibitions: \"Masterpieces of Chinese Art\" and \"Russian Imperial Jewels\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedules 1946, 1946/7, 1949, 1950, Entertainment Committee announcements and replies, committee report 1946, committee roster 1949/50, biographical information on the following Museum guests: Yasuo Kuniyoshi, John W. Taylor, Charles W. Smith, Reginald Marsh and Lamar Dodd, etc. Dates- 1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedule 1946/7, 1950, 1951, 1952, 1953, 1954, Entertainment Committee rosters 1950/1, 1951/2, 1952/3, proposed Friday evening events 1950/1, committee meeting minutes 1952, biographical information about George T. Hamilton, etc. Dates- 1946-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, VMFA Entertainment Committee schedule 1954, 1955, 1956, announcements and minutes of Entertainment Committee meetings 1951, 1953, 1954, 1955, 1956, etc. Dates- 1951-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee roster, Entertainment Committee schedule 1955, meeting announcements, biographical information about the artist Donald Oenslager, etc. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, announcements and replies for VMFA Entertainment Committee meetings, roster of Entertainment Committee, committee schedule 1955, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. Arthur Kelly Evans. Subject- a bequest to the Museum from Mrs. Evans, etc. Dates- 11/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- proposal for fundraising project for VMFA Council in fall 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- 60the Anniversary of the AFA meeting and symposium in Williamsburg, registration forms. Dates- 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agenda, timetable and luncheon for behind the scenes tours by the Council. Date-1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Benefit for the Council Service Fund, program, menu. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Museum in Action\": documentary of VMFA galleries and statewide activities, preview agenda, press dinner, invitations. Producer: Richard Rochement Narrator: Alistair Cooke Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for VMFA banquet services. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Exhibition: \"Treasures from the Norfolk Museum\", Governor's reception, program agenda. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gallery plan, staff assignments and program. Dates- 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reinstallation of the permanent galleries. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Members dinner dance event, invitations, guest list. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Glasgow Estate, Jamestown Tablet. Reception for Committee on Law Celebration. Dates- 12/58 - 4/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Members preview and reception: timetable, program, invitations, gallery plan, etc. Jack Larsen: lecture and biographical data. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of invitation to members of Virginia Chamber Music Society to attend a Theatre-Dinner. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Inauguration of a monthly series of theatre Dinners, guest list, letters of invitation for event and menu. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition: \"Designs for the Theatre\" Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reception for British group of scholars and collectors and travel itinerary. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- A British organization on American Tour. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Meeting at VMFA for NCEW: an organization to stimulate the conscience and quality of the American Editorial page. VMFA Executive committee minutes, biographical data, program agenda. Dates- 7/58 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of request for use of VMFA Gallery for Dinner, agenda, timetable. Dates- 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Tour routes, agenda and schedule of events for reception and letter to new members. Dates- 9/68 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of invitation to reception, tour of museum, agenda, timetable, etc. Dates- 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. Breeden (Membership Chair). Subject- Procedure and agenda for members reception and tour schedule, press release, invitations, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Haseltine. Subject- VMT Premiere performance and promotion. Dates- 5/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- exhibition: \"Treasures of the Norfolk Museum\", program/dinner agenda, invitation, etc. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Arthur Houghton. Subject- Preliminary event outline, layout, program agenda, procedure, invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Annual event to honor corporate patrons: entertainment, decorations, invitation list and suggested remarks to be delivered by President, E. Will. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Private advanced performance of \"School For Wives\", biographical data on Peggy Wood. Dates- 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Rhoads. Subject- Agenda and sample of invitation. Dates- 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Gregory Peck. Subject- Grand opening of Virginia Theatre Arts System, events schedule for preview, Letter from Gregory Peck. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Library reception and banquet for college Presidents attending the Drama Festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner and Theatre Party: agenda, invitations. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters of request and agenda for Theatre Dinner Party. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Rhodes and E.M. Last (Chair, RLS) Subject- Performance of RLS at VMT, ticket sales and cost estimates. Dates- 1/65 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of request for VMFA services. Dates- 4/31/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Robinson House formerly the Scientific Research Organization, VMFA headquarters for LOAS, adult classes and resident craftsperson, Invitation, Historical background, Bulletin vol.24 no.7 4/64 Dates- 8/62 - 3/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Helen Dohn. Subject- Smith College dinner with lecture by Charles Chetham, Director of Smith College Art Museum, agenda, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- The VMFA Council, Theatre Affiliates, President's Dinner. Music, Dance and Film Societies. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The Hospitality and Information Service for diplomatic residents and families. Dates- 1968. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- three day seminar program of multi-level experience in the Arts For exceptional Virginia Youths, agendas, etc. Dates- 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMFA luncheon and tour. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Paintings and drawings by E. Vedder, speaker. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for contributions. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: Hugh Newell Johnson. Reception, guest list and agenda. Exhibition catalog. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Harry Bertoia, Sherman Lee. Subject- General correspondence regarding juror service. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Sherman Lee. Subject- Jury Chair: Sherman Lee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Juror: William Pahlmann. Event program agenda, invitation, guest list, etc. Catalog: \"Virginia Interior Designers 1973\". Dates- 10/72 - 3/73 \"Virginia Interior Designers Reception Fri. 16 Mar.,  1973, 5-7 p.m.\" Subject- Invitation. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, W. Gaines and H. Dohn. Subject- Schedule of events, exhibitions, Bicentennial Celebration. loans, gallery tours, calendar news, Invitation for the \"India In Virginia\" exhibition. Dates- 8/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains minutes, agendas and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas, 1954-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, announcements, agendas and minutes of VMFA Exec. Committee meetings 1955, 1956, etc. Dates- 9/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, VMFA Exec. Committee minutes 1956, list of Exec, Committee members 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and William J. Rhodes, Jr. (President). Subject- Trustee/Museum business Exec. Committee meeting agendas 1954, 1955, 1956, Museum finances (pay scale, Director's allowable expenses, approvals for purchases) VMFA Committee appointments 1956-7, etc. Dates- 6/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. and Col. Henry W. Anderson (President). Subject- Trustee/Museum business, VMFA Exec. Committee meeting minutes 1950, 1951, 1952, 1953, listing of members of the Exec. Committee 1950, 1951, Exec. Committee resolutions 1950, 1951, 1953, By-Laws revised and adopted 1951, etc. Dates- 1950-3. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- Executive Committee minutes, copies of Exec. Committee minutes 1953, 1954, 1955. Dates- 12/53-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Gari Melchers Memorial Committee, VMFA Exec. Committee minutes 1956, list of Exec. Committee members 1956, etc. Dates- 4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Trustee/Museum business, VA Art Alliance, Williams Fund purchase, VMFA Exec. Committee agenda 1952, 1953, 1954. Dates- 5/51-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W. Gaines, R. Velz, M. Christison. Subject- Roster of large Richmond firms and number of employees, invitation cover letter, remarks to be delivered after luncheon. Dates- 9/63 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- lists of proposed exhibitions, events schedule for 1955-6 season, roster of members and schedule of the entertainment committee, drama schedule for Virginia Museum Theatre, etc. Dates- 7/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Notable lecturers and AIV contributors, biographical data. Jurors: Charles Eames, Morris Ketchum and Bert Stern. Dates- 1967 – 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Budgets, loan requests. \"Picasso: A Selected View\", \"12 American Painters\", List of Art Works, biographical notes test for the catalog: \"The Flowering of American Folk Art\". Catalog: \"American Painting 1970 including correspondence with Richard Diebenkorn. Dates- 1970-1974. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Bernard Martins' \"Portrait of Edward Hopper\", \"Walter Gropius - 1883 - 1969\", \"Jose Puig\", projected budget, attendance records, requests for loans, receptions events schedules, etc. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Engineering projects around the world, assembled to illustrate the aesthetic impact of technology. Cost estimates for exhibition, speakers and invitations. Dates- 7/64 - 1/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Outstanding objects in American Museum collections that are gifts or have been purchased with contributions from patrons. Event arrangements/planning. Requests of loans and press releases. \"A Brief History of the Virginia Museum of Fine Arts\", by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition \"Homage to the Square\", signed letter from Elaine de Kooning. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening festivities of the Aldrich Collection of Impressionist and Post-Impressionist paintings and sculpture. Catalogue: \"The Aldrich Collection\", foreword by L. Cheek. Dates- 11/58 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: Bartlett Hayes. VMFA purchases from exhibition. Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: C.V. Donovan. Request for loans from other galleries. Dates- 1962 , 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Al Held. Subject- Juror: Peter Selz. The removal of artwork from the wall of the VMFA for a period of one week in demonstration of racism, war and repression in America. List of paintings to be shipped and installation instructions. Dates- 9/69 - 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Search for a disposable cardboard shelter for use in a traveling sculpture exhibition to the Chapters and Affiliates. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Juried exhibition of Virginia Architects, Designers and Photographers. American Painting exhibition. Dates- 1964, 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt, Sydney and Frances Lewis. Subject- Art Nouveau exhibition: request for loans, lists of objects, opening event agenda, timetable, invitations, etc. Lecturer: Robert Koch. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. H. Bache and P. Near. Subject- Collector-of-the Year: Pre-Columbian gold collection, list of objects, letters to members of Collectors Circle. Dates- 196 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for flags from Embassy of the Federal Republic of Germany. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Kent Bicentennial Portfolio: \"Spirit of Independence\", prints by 12 Contemporary American Artists. Rockefeller Collection of Picasso Tapestries. Dates- 11/74 - 11/75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Phillip Hofer. Subject- Philip Hofer: biographical data and lecture on Blake. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Block as Collector-of-the Year (1967): Collection of 19th and 20th century watercolors and drawings, reviews and agendas. Dates- 10/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum of Modern Art exhibition \"Art Lending Service Retrospective\", lecture by MOMA Junior Council President Lily Auchincloss, lending services, expenses and pamphlet. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibit on ancient Chinese treasures. Date- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases for Virginia's Civil War centennial Exhibition and celebration at the VMFA, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- C. Conger (White House Curator) and his collection of interior furnishings. Heeramaneck Collection. Dates- 1967, 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Blumka Medieval Collection: Preview, program agenda, invitations, etc. Damage report to Gothic Cut Velvet Cloth, Conservators report and insurance claims. Dates- 1/73 - 5/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Exhibition of Tapestries from the House of Edgeworth and paintings, prints and drawings. Lecture, list of objects, PR, gallery plan, invitations, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek's service as a juror for \"International Glass\", gallery plan, photographs, list of jurors choice objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition \"Robes from the Forbidden City\": lecture by Alan Priest on Chinese Textiles. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt and P. Near. Subject- Virginia Photographer 1971, juror: Harry Callahan. Mourot Collection of porcelain. Exhibition schedules, lectures, gifts, loans of art objects, roster of Trustees. Catalog: \"Virginia Artists 1971\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Davies exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and H. Gummerus (Finnish Society of Crafts and Design). Subject- Gummerus lecture on Finnish design. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibition of Tutankhamun. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Bernard Von Bothmer (Brooklyn Museum). Subject- Von Bothmer account of his discovery fo the missing portion of VMFA fragment of Sema-Tawy-Tefnakht. Conservation and restoration of scribe, magazine clippings. Slides and photographs. Dates- 12/64 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. L.J. Dee (Cooper- Hewitt) Subject- Her Lecture to VMFA. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture by Buckminister Fuller, biographical data, catalog, installation, invitations, etc. Dates- 1/59 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contemporary Art forms of Israel. Lecturer: Avid Yafeh. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturer: John Walker. Invitations, entertainment. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Gaines. Subject- Documentation of the making of George Steven's film. Installation, design, floor plans and cooperating agencies. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Herbert Hoffman, Perry Rathbone and Patricia Davidson. Subject- Bill S.2273: to enable works of art and other materials imported for temporary exhibition in non-profit activities to be immune from judicial process. Description of objects for possible acquisition. Exhibition design, installation, VMFA and BMFA gallery plans, invitations, etc. Dates- 9/63 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Rathbone and H. Hoffman. Subject- Loans of Greek gold from the Hermitage and other institutions. Appeals to the State Department regarding Bill S.2773. Dates- 3/64 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Christine Alexander. Subject- Alexander's service to VMFA consultant on Greek and roman acquisitions. Exhibition lecture by Dorothy Kent Hill. Dates- 12/61 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Western art in Virginia collections, loan requests, film series, invitations, program agenda, etc. Lecturer: Larry Curry. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Perry Rathbone and Nasli Heeramaneck. Subject- Installation and acquisitions from the Heeramaneck collection. Lecturer: John Alexander Pope (Freer Gallery), newspaper clippings. Dates- 12/66 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon and Lessing Roswald. Subject- Request for loans, receiving and storage of objects. Event invitations, agenda, etc. Lecturer: Philip Hofer. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and John Koenig. Subject- Proposals for the filming and documentation of an epic film: research, selection, documentation, etc. Proposals were originally made to Samuel Goldwyn and Cecil B. de Mille. Dates- 7/55 - 2/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Goodrich. Subject- Requests for loans from various collections. Text for catalog forward by L. Cheek, and essay by Lloyd Goodrich. Biographical data and newspaper clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Events schedule, agenda, invitations, pamphlets. Lecturer: Robert Doty. \"Portrait of Edward Hopper\" and drawing studies by Virginia painter, Bernard Martin. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Exhibition of art from Virginia Collections to commemorate the 10th anniversary of AIV. Request for loans, invitations, members preview, agenda, list of objects for exhibition. Lecturer: Thomas E. Norton, biographical data. Dates- 7/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Acquisition of Indian art collection. Dates- 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition of works by French artists commissioned by Claude Aveline to illustrate his poem \"L'Oiseau que n'existe pas\". Lecturer: Lawrence Alloway, biographical data. Members Bulletin vol.24 no.8 4.64. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Anne Marie Pope. Subject- VMFA display areas. Date- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt and P. Near. Subject- Art Nouveau Loan, list of Lewis gifts and purchases. Dates- 1971 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and C.S. Hathway. Subject- Lecture search. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Biographical data, agendas, timetables and invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Islamic rugs circulated by the Smithsonian Institute and lecture by McMullan. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J. Baskett and P. Mellon. Subject- List of paintings from Mellon Collection. Gallery preparation, storage, costs, opening festivities, interpretation of exhibition, letters to print media. Press release, newspaper clippings. Lecturers: W.G. Constable, John Baskett and Basil Taylor. Essay- \"Painting In England, 1700-1850\". Dates- 8/62 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Paul Mellon. Subject- Mellon English Painting Collection, early discussion concerning the scope and preparation of catalog and exhibition. \"Letter from Basil Taylor Dated-23 January 1963 re: Mellon Show\", letter of disgruntlement over the various stages of the Mellon catalog. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Basil Taylor. Subject- Mellon Collection of English painting, initial planning stages, lectures, installation, catalog, etc. Dates- 11/61 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Paul Mellon. Subject- Exhibition: \"Painting in England\", program of events, invitations, gallery plan, program, invitation, guest list, etc. Dates- 5/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon and Basil Taylor. Subject- Basil Taylor, advisor tot Mellon collection and author of exhibition catalog: \"Painting in England, 1700-1850\". Catalog foreword by L. Cheek. Dates- 12/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations and dinner programs. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Installation, catalog, security, lecture. List of slides, media coverage. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Remarks by Paul Mellon on exhibition opening, mock-ups of booklet form. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Full color photographic reproduction of the \"Sistine Chapel\", exhibition circulated by LIFE magazine. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Demonstration of mosaic technique using contemporary materials. Dates- 5/54 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Henry Moore. Subject- Aid of Helen Norman (neighbor to Moore) on establishing a dialogue with the VMFA concerning an exhibition and visit by the artist. Preliminary exhibition plans. Dates- 10/57 - 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Henry Moore. Subject- Preview and opening night arrangements, newspaper clippings and press releases. Dates- 5/65 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Neutra. Subject- Exhibition and speaking tour by the artist. Dates- 6/59 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Goya exhibition: request for loans of works by Goya, announcements, invitations, list of paintings, Dr. Priscilla Muller (curator and speaker for exhibition). Program agenda. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturer: John S. Szarkowski. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and James Rorimer. Subject- Exhibition of Contemporary photographs. Biographical data on Ivan Dimitri and A. Hyatt Mayor. Catalog: \"Phototgraphy in the Fine Arts\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- proposed exhibitions, information about traveling exhibitions, etc. Dates- 10/48-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Perry Rathbone. Subject- Pre-Columbian gold with lecture by Allen Wardwell. Dates- 4/67 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Vincent Price as Collector-of-the-Year. Date- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- African collection from the Olsen Foundation. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Una Johnson (Brooklyn Museum). Subject- Contemporary prints from the Brooklyn Museum, invitations and announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition of the American Institute of Graphic Arts 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Gaines, F. Brandt, Anne Marie Pope. Subject- Reinstallation of the permanent collection, estimated exhibition costs, Heeramaneck collection, list of exhibitions available form International Exhibitions foundation. Exhibition catalog: John Kelly Fitzpatrick\" , photographs. Dates- 9/68 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Quillian. Subject- Exhibition of Randolph-Macon Collection. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program agenda for reception, exhibition, gallery plan. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions of Chinese Textiles from Minneapolis Institute of the Arts. Lecture by Alan Priest. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposed gift of \"Gates of Hell\", from the Cantor Collection. Exhibition \"Study of a Woman's Torso\". Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Rosenwald as Collector-of-the-Year, 1965. \"Master Prints From The Rosenwald Collection\", introduction by Rosenwald for the exhibition checklist. Dates- 12/64 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Corrected draft by L. Cheek. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Rosenwald. Subject- Personal invitations from L. Cheek. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition announcements. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of events for the season. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Paul Tishman. Subject- Exhibition from the Tishman Collection, letter of invitation, installation, Council lecture/luncheon. Speaker: Dr. John Akar, Ambassador of Sierra Leone. Remarks by J.M. Brown and Tishman, announcements and biographical data, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing lists for colleges, museums, etc. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek tour of England to photograph Elizabethan Houses. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Presentation of various forms of Arts of England during Shakespeare's life in commemoration of the 4th Centenary of his birth. Requests for loans of Elizabethan objects, press release, installation, etc. Dates- 8/63 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Exhibition of 19th and 20th century paintings, reception and event announcements. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon (Exhibition Chair) and Wm. Constable. Subject- requests for loans, French and British sponsors of exhibition including Queen Elizabeth, Honorary Committee Members, Patrons, catalog, PR, object damage report. Basil Taylor as special advisor to exhibition. Dates- 7/58 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Consultation on exhibition proceedings, travel and lecture schedule, biographical data and text for introduction to the catalog. Dates- 4/60 - 7/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Basil Taylor, Paul Mellon and A. Eiseman. Subject- Catalog layout, printing, design, budget, cost estimates, contributions. Essay- \"Classic Horse Paintings\", foreword by L. Cheek. Dates- 1/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Recipients of free catalogs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- William George Constable and his lecture for exhibition, biographical data, Bulletin vol.20 no.8 4/60. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of British sponsors, loans, selection committee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Mailing list, opening event, program and list of lenders to exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and John G. Pollard. Subject- List of sponsors, reception: program, agenda, menus, etc. Newspaper clippings. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibition in commemoration of Stravinsky's 80th birthday with related settings and costumes created for his ballets. Dates- 4/61 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Exhibition of contemporary prints and multiples (3-dimensional objects of limited editions), Lewis contributions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Railey Collection of European and Asian seals, Fisher Collection of paintings and exhibition of Ruth Safford: \"Interiors of Famous Houses\". Dates- 8/61 - 2/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt. Subject- Problems with exhibition objects. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Damage report of exhibition objects. Dates- 11/63  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Loans of objects from Pierpoint Morgan Library. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Extension of Tutankhamen exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sample invitation and preview guest list. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- List of objects available for loan and prices. Exhibition announcements, gallery floor plan. Lecturers: Gerald Nordland and Hilton Kramer. Dates-1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibit from MOMA: \"Form In The Animated Cartoon\". Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to M. Christison. Subject- Unavailability of Van Gogh exhibition. Dates- 8/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Philip Johnson. Subject- Jurors: Carroll Meeks, Richard Di Natale and Hans Namuth. Official entry forms, exhibition announcements, biographical data. Dates- 10/61 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Gyorgy Kepes, Philip Johnson and Ivan Dimitri. Invitations, guest lists, biographical data and entry forms. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- 1st Biennial exhibition.  Juror: Romaldo Giurgola.  AIA reception and dinner, program agenda, biographical data, invitations, pamphlets and exhibition catalog. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Sherman Lee, Harry Bertoia, Bernard Perlin. Collectors reception, purchase of artist work by Trustees, invitations, entry forms, etc. Dates- 12/57 - 2/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Near. Subject- Reception for purchasers of art works from the exhibition, and catalog. Dates- 1957, 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters to Artist on their award by the jury. Exhibition catalog, juror search and entry forms. Dates- 1959, 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Carl Wienhardt Jr., Mary Callery and Robert Vickrey. Salon des Refuse's on view at Thalhimer's, events schedule and exhibition catalog. Dates- 6/64 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: William Seitz. Installation, list of purchases, invoices, PR, invitations, guest lists, etc. Acquisition from Lewis Fund. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Gordon Bunshaft and A. Bodine. Entry forms and recipients of certificates of Distinction. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Exhibition to travel to Charlottesville. Dates- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture by Dorothy Miner, announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and Mr. John G. Hays (Chairman of the Expansion and Development Committee). Subject- Trustee/Museum business, formation of the VMFA Expansion and Development Committee, report of the chairman, etc. Dates- 11/47-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and P. Crum (Curator) and College of William and Mary. Subject- W\u0026M students visit to VMFA, loan from W\u0026M for a VMFA traveling exhibition, arrangements for traveling exhibitions to W\u0026M, etc. Dates- 2/41-7/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Education and Exhibitions) and Longwood College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Farmville State Teachers College, etc., 3/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- information on VMFA traveling exhibitions and an organization membership, etc. Dates- 7/48/8/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Art Club. Subject- arrangements for VMFA slides and traveling exhibitions to LAC, etc. Dates- 3/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Lynchburg College, etc. Dates- 1/49-2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Teacher's Club. Subject- arrangements for traveling exhibitions and slides to LTC, etc. Dates- 3/46-2/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Madison College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Madison College, etc. Dates- 12/47-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.C. McGehee (Assistant in Education Dept.) and Martinsville City schools. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Martinsville City schools, etc. Dates- 9/51- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Mary Baldwin College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to M.B. College. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Mary Washington College. Subject- arrangements for traveling exhibitions to M.W. College, arrangements for lecture by Christison at M.W. College, etc. Dates- 3/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Middlesex County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to MCWC, arrangements for lecture by Christison for MCWC, etc. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Narrows Woman's Club. Subject- arrangements for traveling exhibitions to NWC, etc. Dates- 10/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Newport News Woman's Club. Subject- arrangements for traveling exhibitions to NNWC, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Education and Exhibitions) and Norfolk Museum of Art. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to NM of A, exchange publications, etc. Dates- 1/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H. Lloyd (VMFA State Services) and Richmond County Junior Woman's Club. Subject- arrangements for filmstrips to RCJWC, shipping instructions, etc. Dates- 10/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Roanoke County Woman's Club. Subject- VMFA traveling exhibition checklists, request for information about organization membership to the Museum, etc. Dates- 4/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H. Lloyd (VMFA State Services Dept.) and Rockingham County public schools. Subject- VMFA traveling exhibition and slides checklists, arrangements for traveling exhibitions to Rockingham Co. Public schools, shipping instructions, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between E.L. Kallop (VMFA State Services Dept.) and Scottsville High Scholl. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions and slide sets to Scottsville HS, shipping instructions, etc. Dates- 9/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Sedley Woman's Club. Subject- notification of installment of Mrs. N.B. Rollings as chairman of Fine Arts Dept. of SWC, Date- 12/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Smithfield P.T.A. Subject- art material for Smithfield schools, Date- 11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H.V. Rennie (Assistant in Education Dept.) and Southern Seminary and Junior College. Subject- schedule of VMFA traveling exhibitions to Southern Seminary and Jr. College ('46) and arrangements for traveling exhibitions to Southern Seminary and Jr. College, etc. Dates- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Hart (Extension Dept.) and St. Catherine's school. Subject- VMFA traveling exhibition checklists, schedule for traveling exhibitions to St. Catherine's, etc. Dates- 1/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and St. Christopher's school. Subject- schedule and arrangements for VMFA traveling exhibitions to St. Christopher's, etc. Dates- 9/48-11/48.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Staunton City School Board. Subject- arrangements for traveling exhibitions to Staunton City School Board, etc. Dates- 1/52-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various Education Dept. staff and Stony Creek Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SCWC, etc. Dates- 2/47-1/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various VMFA State Service Dept. and Education Dept. staff and Stratford College. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to Stratford College, shipping instructions, etc. Dates- 8/48-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition checklists, schedule and arrangements for traveling exhibitions to Stuart Hall, shipping instructions, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director of Collections and Education) and Suffolk Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SWC, etc. Dates- 8/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Surry Woman's Club. Subject- arrangements for tour of the Museum and traveling exhibitions to SWC, etc. Dates- 10/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Sweet Briar College. Subject- schedule and arrangements for traveling exhibitions to SBC, shipping instructions, etc. Dates- 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Service Dept. staff and Tazewell Parent-Teacher Association. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions, slide sets and filmstrips to Tazewell Parent-Teacher Association, shipping instructions, etc. Dates- 11/52-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Thomas Jefferson Junior Woman's Club. Subject- request and suggestions for speakers for TJJWC, etc. Dates- 7/47-9/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA and Thomas Jefferson Woman's Club. Subject- arrangements to visit, tour and hold a meeting at the Museum, etc. Dates- 11/40-1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Three Arts Club of Blackstone. Subject- arrangements for filmstrips for TAC of B, shipping instructions, etc. Dates- 12/52-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- address of Mrs. Woods, President. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Toano Woman's Club. Subject- arrangements for holding a meeting at the Museum. Dates- 1/50-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and University of Richmond and Westhampton. Subject- arrangements for traveling exhibitions to U of R, shipping instructions, etc. Dates- 3/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- catalogues from the UVA Extension Dept. including the following: Famous Italian Paintings, Famous Flemish Paintings (Reprints from Seventy Famous Paintings by Adelaide D. Simpson (1927), The Story of Venetian Painting by Mrs. Stringfellow Barr and Cecily B.D. Ryder (1928) and Catalogue of Art Prints and Books (1937), etc. Dates- 1927-1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to UVA, shipping instructions, etc. Dates- 10/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and University of Virginia Museum of Fine Arts. Subject- checklists for traveling exhibitions sponsored by VMFA and UVA, the following publications by UVA: \"Twenty-five Contemporary Artists of Cleveland, Ohio\", \"Hugh Breckenridge\", \"Contemporary Artists of Virginia\", \"Contemporary Artists of Albemarle County and The University\", \"Alexander B. Trowbridge and Olin Dows\" and \"Elinor F. Hopkins\". Dates- 4/34-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.Y. Casey (Assistant in Education Dept.) and Upper King William County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to UKWCWC, shipping instructions, etc. Dates- 3/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Valentine Museum. Subject- information about becoming organization members of VMFA, a loan to VMFA from the Valentine, listing of the Valentine's activities, etc. Dates- 10/35-9/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and VA Education Association. Subject- Virginia Education Association art section meetings, etc. Dates- 2/47-10/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and VA Federation of Woman's Clubs. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VA. Federation of Woman's Clubs, VA Federation of Woman's Clubs yearbook ('47/8) and Directory ('48/9), etc. Dates- 1/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA traveling exhibition checklist. Dates- 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Virginia Polytechnic Institute. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to V.P.I.'s Architectural Department, etc. Dates- 6/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Virginia State College (Norfolk Division). Subject- checklists for VMFA traveling exhibitions, arrangements for traveling exhibitions to VSC, shipping instructions, etc. Dates- 10/52-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and the Extension Dept. and VA State University. Subject- schedule of VMFA traveling exhibitions to VSU 1945-7, arrangements for traveling exhibitions to VSU, etc. Dates- 6/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Va. Teachers' Association. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VTA, arrangements for a lecture by Christison to VTA. Dates- 12/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Virginia Union University. Subject- VMFA loans to VUU's art festival, arrangements for traveling exhibitions to VUU, etc. Dates- 1946-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between E.L. Kallop (State Services Dept.) and Wakefield Woman's Club and P.T.A. Subject- checklists for VMFA traveling exhibition, arrangements for traveling exhibitions to WWC and P.T.A. Dates- 9/51-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Warren County High School. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Warren Co. HS, shipping instructions, etc. Dates- 10/46- 5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between O. Hart (Registrar) and Warwick County School Board. Subject- arrangements for traveling exhibitions to Warwick Co. Schools, etc. Dates- 1/49-4/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Warwick Woman's Club. Subject- arrangements for traveling exhibition to WWC, etc. Dates- 10/48- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Washington and Lee University. Subject- checklists of VMFA traveling exhibitions, arrangements for traveling exhibitions to W\u0026L, etc. Dates-1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Waverly Woman's Club. Subject- schedule of VMFA traveling exhibitions to WWC ('46), WWC visit (with lecture) to VMFA, etc. Dates- 3/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA staff and West Point Schools P.T.A. Subject- arrangements for traveling exhibitions to West Point Schools, etc. Dates- 12/50-6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various Education Dept. staff and Westmoreland Woman's Club. Subject- arrangements for traveling exhibitions to WWC, etc. Dates- 1/48-3/49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and William Campbell High School in Naruna, VA. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wm. Campbell HS, shipping instructions, etc. Dates- 12/52-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and various Education Dept. staff and Wilson-Jackson P.T.A. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wilson-Jackson P.T.A., etc. Dates- 1/47-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.T. Rhodes (Assistant in Education Dept.) and Wytheville County schools. Subject- arrangements for traveling exhibitions to Wytheville Co. schools. Dates- 4/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Wythe Woman's Club, Hampton. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC. Dates- 8/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education), various Education Dept. and State Services staff and Wytheville Woman's Club. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC, etc. Dates- 5/49-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Y.W.C.A.-Richmond. Subject- holding a meeting (with a visit and lecture) at VMFA. Dates- 4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Young Woman's Club of Williamsburg. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to YWCW, shipping instructions, etc. Dates- 12/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.Y. Casey (Assistant in Education Dept.) and VMFA State Services Dept. and Zuni Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to ZWC, etc. Dates- 8/50-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\". Dates- 12/54-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\", note-included in these files: slides from Williams College of Art. Dates- 1947-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Chairman of the art department Williams College. Correspondence and biography 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fashion Show in cooperation with Miller and Rhoads Dept. Store and Harpers Bazaar magazine to benefit the VMFA Council, Education Fund, Council dinner, event plans and program catalogue. Dates- 12/55 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- the Fashion Festival of Arts and Flowers presented by the VMFA Council in cooperation with Miller and Rhoads Department Store, attendance lists, newspaper clippings, etc. Dates- 3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between national director and Thomas Colt, who was the State Director of the Federal Arts Project, 1935. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Federal Emergency Administration of Public Works regarding a grant to construct an additional wing to the Museum. 1935-38. More applications from Museum for funds from the Federal Emergency Administration of Public Works to complete projects such as casting a bust of John B. Payne and landscaping grounds. 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Federal Emergency Administration of Public Works and Virginia Commission for the Arts material, mostly on landscaping the grounds of the Museum, 1936. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Federated Arts Council of Richmond dinner and agenda, invitations. Dates- 2/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- Committee reports, events schedules, annual meeting 5/29/74, \"Festival Of The Arts\", 18th annual report, Dogwood Dell June-Aug'74. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Awards Dinner agenda, letters of confirmation, thank-you's, etc. Dates- 12/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T.C. Colt, Jr. Subject- listing of and letters to prospective fellows (founding fellows), a copy of the constitution 4/55. Dates- 3/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospects for new membership program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Conservation Laboratory, Library Endowment, Fellows Weekend, orientation theatre, contributions and projects, statement of purpose, agendas, biographical data. Resolution in memory of Lewis Strauss. Dates- 1964-79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Fellowship Committee minutes 1942, 1948, 1949, 1950, Fellowship Committee agendas 1950, 1951, committee report 1949/50, Fellowship Committee announcements and replies, listing of fellowships given by the Virginia Museum of Fine Arts 1940-51, etc. Dates- 1942-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Aplicant interviews procedure. Date- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellowship Fund income account, application, letters to recipients: Primm Turner, Jenny- Lynn Franklin and John D. Norwood. Dates- 5/54 - 5/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Essay- \"Outline for a Proposed Film for the Virginia Museum of Fine Arts\" by Vavin, Inc. 3/60.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1947, 1948, 1950, Finance Committee meeting minutes 1948, 1949, 1950, letters soliciting opinions from Trustees about stock purchases and committee resolutions and replies, VMFA Pooled Endowment Account 1949, stockholder information , etc. Dates- 1947-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1950, 1951, Finance Committee meeting minutes 1952, committee report 1950, status of capital funds listing 1950, list of securities held and cash balances, financial transactions, etc. Dates- 1950-2. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1952, 1953, Finance Committee resolutions 1953/4, Capital Funds Investments and Cash listings 1952, 1953, stockholder information, financial transactions, etc. Dates- 1952-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1955, Finance Committee resolutions 1954, a listing of Finance Committee meetings and actions in writing 1948-56, financial transactions, stockholder information, statement of endowment investments 1955, pooled investment listing 1955, investment changes for the period 4/30/55-12/31/55, etc. Dates-1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Lawler Fund. Dates- 10/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- stockholder information (i.e. annual and quarterly reports of companies). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee resolutions 1948/9, excerpts from Finance Committee meeting minutes 1939, 1951, Date- 3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from A. Nicholas. Subject- Statements of income, balances, private income, special purchase funds, operating budget, etc. \"Virginia Museum Semi- Annual Financial Report Dec. 31, 1970\" , \"Summary of Financial Support\": 1935- March 31, 1971, 19l35- June 30, 1969, Art Purchase Funds, Capital Outlay Programs to purchase land and buildings, List of Art Purchases 1970-71. Dates- 6/70 - 10/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and G. Martin. Subject- Responses to questionnaire from various theatre directors, VMT regulations. Dates- 1965 -66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT Statement of Purpose, application for Samuel Tate Morgan and/or George Seay Memorial Trust Funds. Letter of grant award for the expansion of VMFA Library holdings and list of books purchased, newspaper clippings. Dates- 5/69 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Administrator, Richmond Area University Center. Correspondence with 1949-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Memorial for Col. Herbert Fitzroy, letters of receipt of contributors to purchase a sculpture to be placed on permanent exhibit in Artmobile II: \"Crowing Rooster II\", G. Marcks. Dates- 10/67 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- information about proper display of U.S., U.N. and VA flags. Dates-11/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns cultural development there. 1957-59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Agreement on the Importation of Educational, Scientific and Cultural Materials\", Bill signed on 6/24/59, press release. Unesco sponsored agreement to eliminate tariffs and special import taxes on educational, scientific and cultural materials. Dates- 9/59 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Horace S. Flournoy. Subject- repair of heating system at the Museum. Dates- 10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- plantings around the Waddy Fountains at the front of the building, lawn and plant care, listing of growing plants used, etc. Dates-6/54-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA staff and Harvard University's Fogg Art Museum, mostly regarding the loan of a Copley portrait for the Museum's inaugural exhibition, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, J. Coolidge (Dir., Fogg). Subject- General correspondence regarding conservation, authenticity of objects, employment referrals, research, etc. Dates- 4/52 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for Folktale Marionette Theatre to perform at VMFA in Dec.1953, etc. Dates- 3/53-1/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- visit of Mrs. Henry Ford II, to see VMFA operations. Dates- 3/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about a Virginia artists watercolor exhibition sponsored by the Ford Foundation Title \"Virginia by Virginians\", copy of an invitation to Mr.and Mrs. Ford to the opening, etc. Dates- 1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- newspaper clippings and statement of purpose of the Ford Foundation. Dates-12/48-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Ford Foundation. Subject- proposal of VMFA serving as regional center for Ford Foundation's creative artists selection program 1958, proposals for Foundation support, Foundation publications, etc. Dates- 10/50-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Ford Foundation. Subject- information about applying for Ford Foundation support, Foundation publications, etc. Dates- 10/59-10/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program for Painters, Sculptors and Related Artists. Letters to jury members, entertainment. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and the Ford Foundation. Subject- the Museum as a locale for the premiere art exhibition to be featured in the March issue of the Ford Times, an exhibition highlighting VA artists named \"Virginia for Virginians\", included are copies of the exhibitions' gallery guide, invitations to the preview and a copy of the Ford Times feature issue. Dates- 11/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and American Association of Museums (AAM). Subject- roster of foreign museum Directors visiting VMFA on a AAM sponsored tour (in cooperation with the State Department), biographical information on visitors, etc. Dates- 3/65-5/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to VMFA staff. Subject- memos about arrangements for luncheon held at Museum for international newspaper people. Dates- 6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal for VMFA travel program, tour estimates and brochures. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition preview speaker: Ariad Yafeh, biographical data, reviews and photographs. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Guest lists for opening event, sample letters for invitations and replies. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices, Cheek serving as honorary member of advisory committee of Directors and Curators, etc. Dates- 3/52-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Keith Fowler. Subject- theatre operations, policies, programming, newsletter to friends, volunteers and theatre subscribers, etc. Dates- 10/69-12/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between William Francis and L. Cheek, Jr. Subject- Museum publications business and arrangements, etc. Dates- 12/64-9/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Governor Peery, T.C. Colt, Jr. and Douglas S. Freeman, president of the Confederate Memorial Institute. Subject- Transfer of the John B. Payne collection from the Battle Abbey to the museum. Dates- 1935-39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. Subject- mostly professional matters, but some personal information is given. Dates- 1948-53.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and French and Company. Subject- French and Company, Inc. art dealers, loans, conservation work, proposed sales to Museum, photos and descriptions of objects, etc. Dates- 6/46-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject- photo requests from the Frick Art Reference Library, reference questions, exchange publications, etc. Dates- 2/46-9/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Friddell was columnist for the Richmond News Leader. Correspondence with Cheek, 1949-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- memo about calendar of Museum events, mailing to American Ballet Theatre Friends, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Preparation plans for \"George Stevens Makes a Film\", an exhibition based on the making of an epic film (The Greatest Story Ever Told), installation, cost estimates, etc. Dates- 1/64 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Search for Egyptian objects to purchase, exhibitions: Sport and Horse and American Folk Art, College Drama Festival, loan of P. Klee works, collectors circle, Biographical data, Fellows, donation, gifts, Segregation in VMT, background information on paintings for Wm. Henry Yates, Marshall Research Library, Poetry Society of Virginia, Glasgow Estate. Accessions and gifts: \"Tree\", H. Gray; E. Hopper; Rutherford Goodwin, Jr.(signature). Dates- 1/55 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General museum business, inter-museum memos. Richmond Sinfonia, special purpose gallery, exhibition policy. Museum television, funding sources, COVAO conference, sale of Artmobile I, Council, newspaper clippings, pamphlets and funds generated through programs division, letter from Robert Indiana.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Bill (William) Gaines (head of Programs Division). Subject- programming educational, exhibitions, films, affiliates, etc., Museum operations, etc. Dates- 3/70-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Acquisitions, objects for purchase consideration, various newsletters, exhibition catalog: \"Nature As Scene\". Dates- 4/76 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with other museums. Subject- exhibition announcements, information about loans to other museums, etc. Dates- 3/53-3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Dir. for Collections and Education) and Mr. Charles Seymour (Yale University). Subject-request to look at the Museum's collections. Dates- 2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Col. Edgar Garbisch and L. Cheek, Jr. Subject- gift to VMFA-Junius Brutus Stearns paintings of life of George Washington, photos and information about paintings, biographical information about Garbisch, etc. Dates- 1/50-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for the 50th anniversary dinner of Garden Club held at VMFA, etc. Dates- 9/68-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the Garden Clubs of Virginia and America 1958-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Mrs. T. Fleetwood. Subject- Mrs. T. Fleetwood as a Trustee, Trustee business, gift to Museum, etc. Dates- 5/64-7/75. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Landscape Architect for Museum. 1957-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by John Garland Pollard, Jr. Subject- invitation to members of General Assembly to use Museum facilities, announcement of a reception for General Assembly members spouses, VMFA Members' Bulletin vol.20, no.5 1/60. Dates- 1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters sent to members of the General Assembly 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Gibbes Art Gallery. Subject- Brown working on problems of the Gibbes Art Gallery, \"Report to the Board of the Charleston Art Association\" co-written by Brown, etc. Dates- 12/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee, Executive Committee. Dates- 1950-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mr. George D. Gibson as Trustee, Trustee and Local Building Committee business, copies and excerpts from minutes of the Executive Committee 1948-53 dealing with VMFA building, news release 6/57 about Gibson being elected VMFA President, etc. Dates- 12/52-11/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. George D. Gibson, a lawyer with Hunton, Williams, Gay., Moore and Powell. Subject- flooding at the Museum, building inspections, structural problems with the building, the shipment of a Watteau painting to VMFA, a Melchers gift, etc. Dates- 7/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- acknowledgments of receipt, thank you letters to donors for gifts of all kinds (money, books, equipment, etc.,). Dates-11/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Arthur G. Glasgow. Subject- gifts to Museum, Museum events, information pertaining to the Estates of Margaret Branch Glasgow and Arthur Graham Glasgow. Dates- 2/54-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., J.M. Brown and Walter S. Robertson (VMFA President). Subject- transcript of remarks by Governor Mills E. Godwin, Jr. at Southeastern Theatre Conference 1966, Museum events, Mrs. Godwin to serve as honorary chairman of Entertainment Committee, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- President of Princeton University. Request for him to lecture at Museum. Dates- 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Associated Artist Gallery, Washington, D.C. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for Theatre Director-Producer 1957.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Pollard was a member of the Goodwin Memorial Commission appointed by the state to erect a scroll honoring the Reverend William Archer Rutherfoord Goodwin, former rector of Bruton Parish Church and man who dedicated his life to the restoration of Colonial Williamsburg, 1950-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Mr. F.D. Gottwald. Subject- agreement and arrangements to establish Elisabeth Shelton Gottwald Fund. Dates- 4/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- copy of report on Museum, recommendations to Museum made by Governor's Management Study Group. Dates-7/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Mills Godwin and Peter Mooz. Subject- Budgets: cutbacks, executive order, appointments to VMFA Executive Board, creation of job positions, Museum organization charts, Melchers Estate, Arts Commission, Executive Mansion furnishings and lists of objects. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for unveiling (10/5/71) of new acquisition of Goya's painting- General Nicholas Guye guest lists, invitation, news releases, photo and information about painting, etc. Dates- 9/71-2/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- \"General Guye\", Goya. Special event, agenda, invitations, etc. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with John Graham (Curator, Colonial Williamsburg). Dates- 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Related to the death of Mr. Gray and his family. His bequest to the Museum and a memorial to him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Horace Gray, Trustee. Subject- Museum business, biographical information about Horace Gray, VMFA Members' Bulletin vol.19, no.6 (2/59), etc. Dates-5/51-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about hiring Mr. Paul Grigaut as head of Collections Division, Museum practices, information about Museum Collections catalogues, etc. Dates- 6/62-4/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Theft-general. Contains one newspaper clipping 5/28/62.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- correspondence with Senator Raymond R. Guest, announcement of gift to Museum of bronze gates, Museum events and business, etc. Dates- 11/48-5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and L. Cheek. Subject- List of sites for guidebook , roster of names for nominating committee, letters to publishers, price structure, biographical data, promotional information, outline for publication by the Trustees for \"An Official Guide To Four Centuries Of Building In The Old Dominion\". Dates- 4/66 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Finnish Society of Crafts and Design 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt, F. Haseltine. Subject- Installation of \"Symbol\" at Phillip Morris site, invitation mailing list, reception agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, F. Haseltine, P. Near. Subject- Exhibitions, VMT, loans, gifts, endowments, biographical data, invoice for work restored, acquisitions, installation of Heeramaneck Collection, Pastorale fund, Project Grant Application, Tax Status. Essay- \"A Brief Summary of Accomplishments of the Virginia Museum of Fine Arts\", 1962-64. Dates- 9/51 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mr. Haller was a public relations consultant hired under special circumstances and kept off of the state payroll. This letter pertains to this and circumventing the state system 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and S. Robertson. Subject- AAM meeting in Williamsburg, increase in security staff at VMFA, Artmobile, Executive order from the Governor's office to divide the Board of Trustees into five divisions. Request for authority to prepare Capital Outlay Plans for South Wing, invitations to serve on various committees, presentation of Webster S. Rhoads award to Gov. Harrison, newspaper clippings. Dates- 5/61 - 11/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Public Buildings Administration (Federal Works Agency). Subject- Harrisonburg post office mural competition (Colt served on the jury of selection and advisory committee) and contract with Public Buildings Administration. Dates- 2/41-10/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek's 25th college reunion and an art exhibition in conjunction with the reunion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Melissa Hayden and Andre Eglevsky. Dance performances at the VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. John G. Hayes, Sr. Subject- Trustee/Museum business, money to the John G. Hayes Endowment Fund, etc. Dates- 11/49-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. J.G. Pollard and W. Rhoads. Subject- John Green Hayes Memorial Fund. Dates- 5/48 - 11/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of appeal from VMFA to Hearst Foundation for financial assistance. Dates- 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Biographical data, press release and his presentation to the AAMD, newspaper clippings. Dates- 4/62 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lecturer for the Latin American Exhibition 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT: tour schedule, HEW grant proposal, \"A Cultural Program in the Dramatic Arts for Virginia High School Students\", newspaper clippings, postcards, reviews, project budget, financial support. Dates- 5/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Travel Itinerary, loans , VMT productions, collectors circle, LOAS (Loan-Own Art Service), search for prospective jurors, letter to Helen Hayes to address VMT, biographical data, gallery plans, invitations to preview Hogarth exhibition. Dates- 9/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for luncheon and agenda. Dates- 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Request for VHS to hold annual meeting. Dates- 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Col. Hodges (Membership Chair). Subject- Trustee/Museum business, Hodges served as the Chairman of the VMFA Membership Committee, etc. Dates- 11/35-3/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA Bulletins: vol.26 no.3 and vol.27 no.6. Hogarth lecture to VMFA, itinerary, biographical data, Wm. Blake exhibition. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for Theatre Director 1957. Contains resume and letters to, from, and about him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, P. Davidson, and P. Rathbone. Subject- Exhibition: \"Treasures of Alexander\", request for loans, list of objects in connection with exhibition, installation design, theft of Nike Earring. Dates- 9/63 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Term as a Trustee and Fellow at VMFA and as a Trustee at Norfolk Museum, Exhibition: Treasures from the Norfolk Museum. Gifts and donations. Dates- 9/61 - 4/3 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Collectors circle, Fellows, Trustee, gifts and donation. His service as a Trustee at the Chrysler Museum. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on state holidays. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Gov. Holton. Subject- Proposal for a Bill to organize a citizens advisory committee to improve furnishings and interpretation of the Gov. Mansion. Statewide Building Code, Administrative Amendments 1/29/73, Sec. 873.5. List of participants and Museum conference notes to determine how Va. Museums can assist one another, Inauguration arrangements committee, rosters: House of Delegates, Senate and legislature. Essay- \"The Holton Years: A Summing Up 1970-1974\". Dates- 9/61 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Reports from the Honors and Awards Committee and the Board of Trustees, 1948-56. Much of this concerns Mr. and Mrs. A.D. Williams, The Katherine Rhoads Fund and the Webster Rhoads Medal, and Arthur and Margaret Glasgow, letter regarding the Mary Samuel Davies Bright Memorial. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Arts and Humanities Commission, Pratt Estate, Cabell Foundation, Ford Foundation: VMT underwriting. Trustee interviews, gifts of appreciated property. Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings, photographs. Dates- 10/8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and J.M. Brown. Subject- Parsons Fashion Show, slides, pamphlets, newspaper clippings. Dates- 8/63 - 7/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Seating arrangement. Dates- 11/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J. Sweeney and Lee Malone. Subject- \"Design In Scandinavia\", Cheek's remarks. General correspondence concerning museum loans and policy. Dates- 4/63 - 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Miss Nora Houston and T.C. Colt, Jr. Subject- biographical information, information about exhibitions she participated in, proposed acquisition of her work, etc. Dates- 4/36-2/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- U.S. House of Representatives, New York State. Correspondence concerning government support of the arts. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copy of his speech given at the Architectural League Symposium 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Term as a Trustee, membership campaign, budget committee, newspaper clippings. Dates- 5/59 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellow, VMT, Exhibitions, Artmobile, long term loan of 18th C. Dec, Arts objects, Hogarth exhibition, contract bid for landscaping, North Wing. FILM: \"THE ART of THE CONSERVATOR\" Dates- 2/64 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Trustee, Fellow, gifts. Remarks concerning Fellows meeting, Draft of Executive Committee Meeting Minutes, 12/8/70. Official application form for AAM accreditation. Art Nouveau Collection, Council lecture and luncheon with draft of suggested remarks delivered by C. Humelsine. Dates- 1969 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Requests for catalogues, loans, exhibition announcement, proposal for an \"International Traveling Exhibition\", technical info on Ivisiglass. Dates- 4/45 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- RSVP's to auditorium inauguration, thank you notes to musicians used for the opening, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Innocenti and Webel (landscape architects) concerning VMFA grounds. Dates- 7/64 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek, T. Colt and Mrs. Pollard. Subject- Requests for publications, general information regarding VMFA collections, exhibitions and museum operations. Dates- 10/35 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General information on exhibition installations.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains one brochure, 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- insurance against air raids and other war damage, correspondence with other museums about war risk insurance. Dates- 6/42 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. and M.B. Christison (Assistant Dir. for Collections and Education). Subject- damage claims to art objects we lent and/or were on loan to the Museum. Dates- 11/49-11/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuels Collection [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Draft of the Constitution and By-Laws of the proposed Virginia History and Museums Federation. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- ICOM statement of mission, travel expense records, membership and financial statements, pamphlets, Minutes of Executive Committee 1/30/60, 5/25/65, Annual Report 1965, newsletter, pamphlets, etc. Dates- 1961 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual Reports, Statutes, guidelines for International Rules of National Committee, Museum Training Programs, Newsletters, Minutes of Annual Meetings, budget, membership, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Mrs. J. Pope (Pres. IEF) Subject- Invitation to become a member, statement of mission, list of officers, IEF Financial Report 12/31/72, Annual Report 12/1/72, NEA award, catalogue listings, list of traveling exhibitions 1966-72. Dates- 1966 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Anne Marie Pope. Subject- Lists of current and planned exhibitions, events schedules, minutes of annual meeting. Dates- 1973 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Article from \"Preservation News\", 1/71 vol., XI, no.1 and Sunday Supplement from New York Times. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, P. Near, Phillip Johnson. Subject- P. Johnson's advise of design of the New Wing and as possible juror for Va. Biennial. Rotunda Club, Jamestown Festival, Robinson House, Hogarth Exhibition, Jr. League activities, and restoration of downtown Richmond. Photocopy of text from letter between Wm. Fitzhugh to Charles Carter 11/30/1796, pamphlets, donations, gifts. Dates- 12/55 - 12/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Letter of appointment to Executive Board. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 350th Anniversary. 1955-57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on the Museum's contributions to the celebration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek to serve on advisory committee and certificate of award for his service, presentation of Pocahontas portrait for permanent display, \"Report From Sub-Committee, Jamestown Commission\", 10/30/57. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photos of the \"Japanese Architecture\" exhibition, printed material for the exhibition, arrangements for bringing the Japanese Charge d'Affaires to VMFA, transcript of remarks made by Mr. Shima (Japanese Charge d'Affaires) at the opening preview, etc. Dates- 4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Itinerary and agenda for East Meadow High School of East Meadow L.I., New York. Dates- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown. P. Near, A.P. Jenkins. Subject- A.P. Jenkins collection, gifts and contributions, loans, Fisher rug collection, B. Barenson, Ash Lawn, Caligula statue, invitations, agendas etc. \"Art Now: New York\" vol.2 #10, University Galleries, 1970 (contains large color plates). Conceptual statement for Cabrillo Marine Museum. Dates- 8/54 - 9/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Jay W. Johns. Subject- Trustee/Museum business, gifts to Museum, information about an Evelyn Byrd portrait by a disputed artist (Kneller or Bridges), etc. Dates- 6/35-9/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- J. Johns service as a Trustee and Fellow, gifts and donations. Dates- 4/50 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- B. Johnson's (Conservator of L.A. County Museum) observations concerning the authenticity of a Veronese painting and his personal collection of pre- Columbian sculpture and Asian ceramics. Dates- 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and T. Catesby Jones. Subject- Jones' collection of modern paintings and sculptures, gifts to the Museum art and books, letter from Jean Lurcat, etc. Dates- 3/41-12/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The loan of Mrs. Catesby's collection of French Modernists to the VMFA and gifts. Dates- 2/50 - 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from l. Cheek, R. Guest (Fellows, Chair) and W. Robertson. Subject- Her appointment as a Trustee and role as chair of the membership committee. Dates- 7/64 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- State Supervisor of Art, 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- purchase requests for photos. Dates- 3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown. Subject- Agenda and letters of confirmation. Dates- 6/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Volunteers at the Museum, 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of confirmation. Dates- 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Letters of recommendation, resumes, prospective jurors, exhibition: \"Ugliness in Virginia\", Robert E. Lee Memorial, Fellows, gifts, donations, pamphlets. Acquisitions: Artists, Duane Hanson and Stephen Posner. Dates- 4/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Karolik collection of American Painting, Artmobile and Collectors Circle. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Maxim Karolik. Subject- proposed lecture for exhibition \"The Karolik Collection\", printed material for exhibition, etc. Dates- 9/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Illumination exhibition for the American Federation of Arts: proposal, budget, exhibition news, advisory committee and Minutes of 1st Meeting 11/23/64. Dates- 1/65 - 2/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek as member of the Council for the Kennedy Center and Board of Trustees, bulletins, progress reports and newsletters and a letter from Jacqueline Kennedy dated 1/14/66. Dates- 2/59 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and H. Willett (Supt. of Rich. City Schools) Subject- Letter to F. Keppel (Asst. Sec. of HEW) concerning a Math and Science Center. Essay- \"Proposal For a Supplementary Mathematics and Science Center\". Dates- 11/65 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters of request and confirmation, menu and tour. Dates- 8/71 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets: \"The Library - Documentation Project spring 70\" , \"The Urgency of Our Mission\" and \"Statement of Purpose Fall 1969\". Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt, L. Cheek and Harry Brooks. Subject- Requests for publications, provenance of Italian Renaissance painting being considered for acquisition, loans, pamphlets and shipping invoices, etc. Dates- 2/46 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, T. Simmons (Knoll) and Florence Shu Knoll. Subject- Interior design and furnishings of the Members Suite, offices, restaurant and Library, Knoll Catalogue 1956, newspaper clippings. Dates- 2/49 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Portrait commission of L. and Mary Tyler Cheek and his exhibition at the Museum of the City of New York. Information about introduction to exhibition catalog. Dates- 1/63 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Parson's School of Design. Design consultant VMFA 1954-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The creation of layouts of loan exhibitions and permanent displays, agendas, job description, newspaper clippings, biographical data, postcard, etc. Dates- 2/58 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mr. Koenig was a guest promotion director at the VMFA 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to contributors of memorial fund. Subject- Memorial established by the Theatre Associates of VMFA, sample of bookplate in his memory. Dates- 4/62 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuel H. Kress Foundation 1958-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about bill and payments with Kuhn. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile project for the Arkansas Arts Center, \"Let's Go, Reflections on the Art of Administrative Leadership\". Dates- 8/62 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chapters/Affiliates, newsletters, Lectour broadcasts, newspaper clippings, invitations, Lawler Memorial Fund, Artmobile. Artists: Pietro Lazzari, Janice S. Lemen, John Gadsby Chapman, photograph. Dates- 5/58 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Publication requests, gifts, contributions, collectors circle, Fellows, suggested bequest wording, Artmobile, loans, exhibition announcements, NEA questionnaire: \"Conservation in Museums- August 1971\", restoration and condition report of \"Battle of Yorktown\", Lami. Artists: Mario Dubsky and Eugene Berman. Gift and donations: \"La Sympathie\", Pettijean. Date- 11/62 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Port Sunlight, Chesire England.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and the VMFA Board of Trustees. Subject- To prevent the construction of the Valentine Museum's Latrobe Theatre. Dates- 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lecture by Cheek to the College Art Association 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to E. Cless (program Consult., U. of Minn.) Subject- U. of Minnesota Institute on Administration and Services in the Small Art Museum, program agenda, travel schedule, list of registrants for the seminar, report on the panel on museum publications, pamphlets, map, etc. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek to G.H. Holmes (Dean of U. of Pa.). Subject- Urban Criticism, experiences in traveling exhibitions on city planning, resolutions and solutions on urban problems. Biographical data on participants of conference, travel expenditures, agenda. Dates- 7/58 - 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Priscilla Crum to Prentiss Taylor. Subject- lecture by Taylor, Wednesday evening programs schedule 1948, proposed schedule 1947-8, etc. Dates- 9/47-1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison. Subject- prospective speakers, films, etc. for programming. Dates- 10/48-12/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- schedules for Wednesday evening and musical programs. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given by L. Cheek, Jury duty lists, consultations, invoices, expense records, agendas, pamphlets, magazine excerpts, Essay- \"The Place Of The Arts In Our American Culture\", by L. Cheek. Dates- 1953 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given by various members of the VMFA staff. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from D. Nicholas. Subject- Procedure and policy concerning VMFA security.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Monthly newsletters on \"Reflections on the Art of Administrative Leadership\", L.H. Kurtz, publisher/editor. Dates- 9/62 - 11/64, 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, P. Near C. Humelsine, F. Brandt and Wm. Gaines. Subject- Art Nouveau Fund: list of purchases, legal document of fund establishment. Artmobile and contemporary Art Purchase Fund. Dates- 5/67 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Possible sources for the purchase and restoration of the Alexander-Withrow House, Lexington, Va. Dates- 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- D. Liebes (color consultant and textile designer) on proposed text for her essay to appear in AIV and her lecture to be given at the VMFA on crafts and the creation of VMFA Craftsperson - residence. Dates- 4/63 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and E. H. Bushbeck (Kress Found.). Subject- Drawings and description of Dr. Reinhardt's gallery in Switzerland. Dates- 2/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and V. Gaskins (asst. to L. Cheek). subject- Planning of VMFA lighting facilities, \"Art Museum Lighting\", 2/59, excerpt from a journal of Electrical construction and Maintenance. Dates- 2/59 - 9/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal of Library-Museum at Lincoln Center. Dates- 2/59 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ralph Linton Collection of African Sculpture. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for loans of furnishings to other state properties. Dates- 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of loans under consideration, loans to ambassador residences in England and Australia. Photographs. Dates- 2/61 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and director of Louvre. Subject- Poussin exhibition at Louvre and VMFA loan of \"Achilles on Skyros\" and Delacroix exhibition, loan of \"Deliverance of Princess Olga\". Dates- 10/59 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lighting Technician, VMFA, 1953-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and C.B. Lusk. Subject- Lighting instruments and technical drawings. Essays- \"Lusklite as developed and used at the VMFA\" and  \"The Installation and Lighting of Exhibitions at VMFA\" Dates- 8/56 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.R. Duncan and Gordon Huff. Subject- Expansion of Lynchburg Arts Center to become an affiliate, loans for opening gala, suggested text for print media, schedule of events, Artmobile, Lynchburg Arts Center Executive officers. Introductions for L. Cheek and W. Robertson, travel itinerary. VMFA lecture series: Building For The Arts 1965-66, pamphlets. Dates- 5/62 - 7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for \"The National Arts Center of New York University at Washington Square\", Exhibition: \"Tastemakers\", based on R. Lynes Book. Official guest list for opening reception. Dates- 10/54 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, L. Cheek, P. Near and F. Haseltine. Subject- Membership, gifts, personnel references, loans, Jamestown Foundation, proposal for commission of sculpture in F\u0026M Plaza. Acquisitions and gifts: Egyptian cups, Coptic sculpture, Bertoia drawing. Dates- 4/61 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Macbeth Galleries. Subject- loans for inaugural exhibition and general correspondence about proposed acquisitions from Macbeth galleries. Dates- 9/35-7/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Orders and correspondence for back issues of Bulletins and magazines, 1946-47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Alessandro Magnasco, Painting 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing and sign schedules, roster of names and institutions. Dates- 1960 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing and events schedules. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near, D. Isley (Norton Simon Collection). Subject- Press releases, shipping, installation, purchase invoice, info regarding owners of the other castings. Photographs and slides. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Paul Manship. Subject- designing the John Barton Payne medal. Dates- 9/36-10/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Robertson. Subject- His Service as a Trustee, Fellow, and chair of Trustee Budget Committee. Biographical info, Artmobile, 25th Anniversary of VMFA, museum business, financial statements, Education In The Arts. Dates- 12/56 - 5/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Long Island Historical Society. Subject- Provenance, purchase through Glasglow Fund. Dates- 12/55 - 1/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resume, photo, agenda, NEA grant request. Dates- 4/65 - 5/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- M. Baldwin Choir Program, Alumnae issue Bulletin concerning visit of Pres. Eisenhower. Invitations, Fine Arts Center, Woodrow Wilson Project. Dates- 2/56 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Julien Binford. Subject- Mary Washington Arts Center, invitations, VMT, loans of art works, newspaper clippings. Dates- 11/49 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gifts to VMFA. Dates- 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. William R. Massie. Subject- Trustee/Museum business, etc. Dates- 12/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture: John Goldsmith Phillips, biographical data, press release and catalog list. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturers: V. Isabelle Miller and Mrs. Yves Henry Buhler. Press release, publicity schedule and photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- floor plan, instructions for installation for exhibition \"Masterpieces of Chinese Art\", printed material for exhibition, thank you notes to lenders to the exhibition, etc. Dates-11/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for the Theatre Director Position. Contains resume and applications, letters of recommendation etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Director of Public Relations for 20th Century Fox. Speaker at the Museum 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Public Information Division VMFA. 1955-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Director of Vassar College Art Gallery, requests for publications, lecture. Term as curatorial research asst. at VMFA. Dates- 9/53 - 6/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dedication of new Library, loans, invitations, VMT, Farewell gift to Mr. and Mrs. Cheeks with poem. Gifts, contributions, G. Melchers memorial. Dates- 2/60 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- General membership information, loans, press release, invoices, newspaper clippings, etc. Art Nouveau Collection. Letter to L. Marden (residence designed by Frank Lloyd Wright). List of Artists editions: prints and objects from Multiples Inc., NYC, price list and description. Artist: Phillip Lindsay, signature. Acquisitions: Monet, van der Helst and Rodin. Dates- 12/69 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and French and Co., Inc. Subject- pieces sold to and installed in the Museum, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal to establish an Institute of Mediterranean Culture at U. of R. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Carroll L.V. Meeks. Subject- thank you notes for visit to New England personal friendly letters, etc. Dates- 4/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, Mrs. Pennell (Membership Secretary) and Mrs. Gari Melchers. Subject- VMFA members in Fredericksburg, postcards, gift to Museum , etc. Dates- 12/35-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Her service on the Executive Committee, Melchers Estate, budget, gift status of \"Dead Jockey\", E. Degas. Contributions, gifts, newspaper clippings, biographical data. Dates- 4/56 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt (Dayton Art Inst.) and Dr. Higgins (Chair of VMFA Board), J.M. Brown. Subject- \"Disposition of Mr. Gari Melcher's Estate Excerpted from Virginia Museum Minutes Books, No.4,5and6\" , prepared by A.W. Statnaker, Asst. Administrator 7/17/74. Resolution, re: \"Belmont As An Art Center And Museum\" and \"Opening Of The Belmont Facility To The Public\" , Executive committee Minutes. Dates- 5/74 - 11/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Melchers estate/bequest to the Museum, agenda and minutes of Gari Melchers Memorial Committee 5/56-10/56, report and proposals of that committee. Dates-5/56-10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- appointments to committee, general operation of Estate, suggested budget, list of Melcher paintings owned by VMFA, loans of art works, drawings/blueprints: G. Melchers Studio air conditioning system and proposed plaque for ashes of Mr. and Mrs. Melcher. \"Belmont Agency Agreement\", Bill to transfer Melchers Memorial from VMFA to Mary Washington college. Dates- 4/56 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- First Chairman of Fellows: 1st Annual Meeting and statement of purpose. Exhibitions: English Painting, French Portraits, Sport and Horse, Artmobile. Old Dominion Foundation and his membership on the Executive Committee, gifts, donations and contributions. Dates- 2/38 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His membership on the Board of Trustees, Fellows, Collectors Circle. Biographical info, loans of art works from his personal collection, donations and gifts to VMFA and the National Gallery, Artmobile, as a recipient of the Benjamin Franklin Award: statement of purpose, nomination form, list of contributions, newspaper clippings, photocopies of magazine articles, invitations , etc. Dates- 1965 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Robertson. Subject- Collectors Circle, Fellows, term as VMFA Vice President. Press releases, newspaper clippings, contributions and gifts. Dates- 4/60 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Members lecture series. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Higgins, Jr. (Pres.) and C. Humelsine (Pres.) Subject- Draft of letter to membership regarding schedule of events etc. Dates- 9/71 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program where paintings from contemporary Virginia artists would be loaned (rented) to members to have in their homes. Members could also purchase the paintings. \"Designed to bring the work of Virginia artists into the homes of Virginia citizens.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Wm. Higgins. Subject- Monthly membership report summary, Chapters/Affiliates reciprocal membership program, letters of general correspondence to the membership. Dates- 4/70 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of the Membership Committee 1/48, 2/49 and a letter supporting the proposed theatre wing from Mrs. Wm. Trigg, Jr.(Civic Theatre Committee, Div. of Recreation, City of Richmond). Dates- 9/47-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Membership report, promotion, agenda, roster of committee members, minutes of committee meeting. Dates-8/72 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes of membership committee, elements of campaign to attract new members and move members to higher categories. Dates- 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Guided tours for prospective members, agendas, schedules, newspaper clippings, excerpt from Minutes of Executive Committee 12/14/72. Dates- 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Webster Rhoads (Pres. of Museum Board) and R.A.Velz (Administrator). Subject- list of new museum members, request form for membership, Membership Reports 1954-5 and 1955-6, list of membership privileges, etc. Dates- 11/55-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. W.A. Nones (Chair, Trustees), J.M. Brown and C. Humelsine. Subject- General membership information, schedule of events, calendar, pamphlets, etc. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership rosters of local organizations, copies of a cover letter soliciting members, etc. Dates- 1/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey results, years of membership, exhibit preference, age, attendance, annual contribution. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- planning stages for corporate memberships, proposed fees, privileges, etc., counsel from other US art museums, list of corporations to be approached about the idea, etc. Dates- 1946- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Corporate membership drives, presentation to J.C.'s, excerpt from Newsweek. Dates- 6/60 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Members art studio classes and lecture series. Dates- 6/54 - 9/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 6/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 9/54-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Velz. Subject- memos regarding segregation and other policies at the Museum. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek and R. Velz. Subject- Miscellaneous information concerning collections in general: treatment/condition reports, insurance, loans, installations, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Miscellaneous museum operation: Artmobile, Art Lending Service, Virginia Artists, lists of objects on loan, exhibitions, damage reports of objects and gallery inspections, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- inter-office memorandums on various subjects. Dates- 12/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek and H. Glasser. Subject- Exhibitions, Pratt Collection, gallery inspections and all manner of museum operations and programs. List of lost objects on loan to the Bon Air School for Girls. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Inter-office memos concerning insurance valuations, loans, lectures, library, exhibitions and policy on filing acquisitions data and damage reports. Date- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets published by the state Department of Mental Hygiene and Hospitals and the Mental Hygiene Society of Virginia. Dates- 1951-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and various staff at the Metropolitan Museum. Subject- museum practices, long-term loans of Egyptian art and artifacts, securing speakers, etc. Dates- 1/55-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J. Rorimer (Dir., MET) and A. Priest (Curator, MET). Subject- Damage to MET's \"Bacchus\", objects to purchase, loan requests. Acquistions and gifts: Tibetan Scroll; Coat of Japanese Mail. Dates- 11/69 - and/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Michael Jacobs Gallery. Subject- loan of painting (George Washington by Gilbert Stuart) for inaugural exhibition. Dates- 6/35-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Midwestern book competition for which Cheek served as a juror, competition judged in Richmond, lists of criteria and books, printed material for the competition, etc. Dates- 4/56-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Jo Mielziner. Subject- friendly letters, mention of possible Mielziner exhibition, etc. Dates- 12/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, list of stage designs available for purchase, his lecture to VMFA, schedules and agenda's, etc. Dates- 10/54 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Miller and Rhoads department store staff. Subject- showing VA artist work in store windows, borrowing supplies from the display department for the Museum (folding chairs, textiles), etc. Dates- 2/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W.S. Rhoads. Subject- Nomination of Miller and Rhoads, Inc. for Esquire magazines 1st annual \"Business in the Arts\" award. Support of Artmobile II. Exhibition: \"Masterpieces in Millinery\", spring 1958. Preliminary outline of fashion costume requirements for VMT \"Lady In The Dark\". Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Speaker: Philip Adams. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. John M. Miller, Jr. Subject- Trustee/Museum business, Miller served as a member of the Membership Committee, etc. Dates- 6/35-7/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mr. J.G. Pollard, Jr. Subject- asking Mr. Milliken (Director of The Cleveland Museum of Art) for counseling on acquisitions, draft of an agreement where Milliken counsels the Museum staff about proposed acquisitions, etc. Dates- 3/58-3/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from B. Mills in his role as Asst. Administrator of Personnel. Subject- Records, applications, payroll, medical insurance, announcements of new employees and terminations. Dates- 9/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and L. Cheek, Jr. and The Mint Museum staff. Subject- museum practices, loans, etc. Dates- 8/46-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- obtaining the motion picture for which the drawings in the exhibition \"Gil Wilson 'Moby Dick'\" were made. Dates- 12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- printed material for exhibition \"Modern German Art\", invitation to Mr.and Mrs. Alfred P. Jenkins for dinner and exhibition preview, (Mr.and Mrs. Jenkins owned the modern German art collection shown). Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Creation of James Monroe Bicentennial Commission. Dates- 8/57 - 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown between MAC. subject- Section 21-2 of the Richmond City Code: designation of Monument Avenue as an Historic District.  Minutes of meeting of MAC, 4/24/71 and 5/19/71.  Program Planning Task Force, editorial broadcast, roster of members, Articles of Incorporation, By-Laws, agendas, proposals and pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and Mr. Charles Moore. Subject- Moore's application for the Director/Producer position in the Virginia Museum Theatre. Dates- 12/56-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data and his lecture tour to the VMFA. Dates- 4/53 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Georgia Watson Morgan. Dates- 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Search for candidates for public information supervisor, job requirements, resume, publicity agendas, public information schedules, Bulletin vol.20, no.3. Dates- 6/59 - 7/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Mulholland (magician), biographical data/pamphlet, his magic presentation to the Fellows and VMT. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, his address to VMFA membership concerning architectural history. Dates- 10/55 - 8/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Munn Last Will and Testament with list of objects bequeathed to VMFA. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and T. Colt. Subject- Mural competition for Virginia State Library entrance hall: selection process, general assembly commission of monument to Stonewall Jackson. Dates- 4/46 - 6/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Envelopes of photos and negatives of Pre-Columbian art objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Gallery attendance and educational groups. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Oct. Bulletin 1954, copies of the following Members' Bulletins-vol.15, no.2 (10/54) and vol.13, no.3 (11/52). Dates-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison. Subject- working papers for Members' Bulletin Oct. 1955, VMFA calendar 10/55, etc. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Oct. Bulletin 1955. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Design of annual Christmas cards by Virginia Artists: John Ballator, Charles Smith, John Canaday, Allan Jones, Ross Abrams, Julien Binford and Prentiss Taylor. Dates- 11/48 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns transportation for the Museum lecturers and guests 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Christison and Mrs. Pollard. Subject- Inquiries from other institutions regarding museum operations, budget, services, corporate membership, Trustees, etc. Lists of purchases, Fellowship recipients. Dates- 1937 - 53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Arrival of Hollins and VCU students to work on specific projects for one month. Dates- 12/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Proposal and tentative plans, prospective filmmakers. Minutes of Executive Committee of Southern Educational Film Production Service. \"Motion Picture Production\": Study by H. Jeff Forbes and Associates regarding promotion of VMFA. Dates- 11/46 - 2/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memos about various museum topics. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, V. D'Amico (Dir. MOMA), M. d' Haroncourt. Subject- Art education standards, exhibitions, loans, lectures, museum policy, juror search and Jamestown Commission. Dates- 11/55 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Head of Administrative Division), Mrs. J.G. Pollard and L. Cheek, Jr. Subject- suggested future organization of the institution, operating procedures throughout the building, etc. Dates-2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding the division of expenses between the theatre and the museum, 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Promotional literature on the VMFA. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Material deals with segregation policies at museum events. 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence pertaining to printing. Bulletin mock-ups and copies of the following bulletins: Vol.6, No.4,  Vol.7, No.'s 2and7. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and magazine articles. Photographs, press releases etc. 1955-57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed budget groupings for VMFA, according to departmental divisions and table of organization. Dates- 1948 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events, timetables, agendas, Robinson House, housekeeping, security, VMT. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of events, exhibitions, Robinson House. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Schedule of events, mailing schedules, spring agenda, Confederation Conference, Robinson House, VMT, gallery closings, Discovery Cruise: Land of Maya. Date- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Suggested talk by Pres. of Museum to guests at Safari Dinner in Medieval Hall. Dates- 1/22/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Travel package for travel to Asia, brochures, cultural travel tours. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Policy regarding loans of art works to other Museums, employment search, provenance of art objects, pamphlets, newspaper clippings, etc. Resolution: To order immediate safe return of German master works after Nazi occupation, signed by U.S. museum directors. Dates- 4/46 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Applicant search for various positions, invitations, announcements, exhibitions, etc. Press kit for the Milwaukee Art Center. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- General correspondence on exhibitions, loan requests, museum business, job placement, magazine and newspaper clippings. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions, loans, policy. Dates- 12/60 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of music series and members of committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- schedule of program of recorded music, announcement of 6th artist evening 1/46, Museum Bulletin Vol.5, No.2, etc. Dates- 2/46-5/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Jerome Myers. Subject- acquisition of his painting: Street Scene, N.Y., his acceptance to the National Exhibition of American Art, N.Y., etc. Dates- 4/36-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- General correspondence to Trustees and membership, letters to Robert Neutra, exhibitions: Henry Moore, Sport and Horse. Agendas, travel itinerary, events and invitations. \"Encouragement of the Nations Arts\", an appeal to congress, and \"Proposed Federal Advisory Council on the Arts\", Hon. H. Alexander Smith, U.S. Government Printing office, Washington D.C., 3/26/57. Requests for employment, postcards, pamphlets and photographs. Artists: Jean Nikolic. Accessions and Gifts: \"Disasters of War\", Goya; \"Lore Fuller\", Raoul Francois Lanke; \"Dancing Girl With Tambourine\", A. Leonard; \"La Revre Blanche\", Toulouse Lautrec; Revere and John Andrew spoons and vase possibly made by Johannes Loetz Witwe. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Namuth's exhibit of photographs at the Brussels World's Fair, as a juror VMFA. List of Seventeen painters photographed by Namuth: Wm. Baziotes, J. Boynton, L. Calgagno, N. Carone, R. Diebenkorn, J. Ernst, S. Gechtoff, G. Hartigan, E. Kelly, W. Kienbusch, G. Mueller, K. Morris, B. Perlin, C. Marca-Relli, R. Motherwell, A. Reinhardt, L. Siegriest, with original notes by Namuth. Letter from J. Ernst with signature. Date 4/61 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statement of purpose and future of NCA, Board of Directors, Members of Council, fellowships, program grant application. Essay- \"National Endowment For The Arts Before The House Appropriations Subcommittee On The Interior And Related Agencies Tuesday, March 14,1972\", statement by Nancy Hanks (Chair): \"New Dimensions For The Arts: 1971-1972\" Dates- 1970-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L Cheek. Subject- Bill: S. 2379, To provide for the establishment of National Council on the Arts and National Arts Foundation. \"Congressional Record: Proceedings and Debates of the 88th Congress\" Dates- 2/64 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Public-Law 85-874, S. 3335: charted by the 85th Congress to establish a bureau in the Smithsonian Institution devoted to the Performing Arts. \"Peaceful Use Of Creative Energy\": transcript of lecture given by Col. Corrin Strong at the Tri State Arts Conference 4/29/61; Report: \"The National Cultural Center Part Two: What Goes into the Center\" by Dr. Carelton Sprague Smith, 10/60. Minutes for the NCC Executive Board: 5/23/60 and 6/29/60 Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. cheek. Subject- VMFA Council sponsorship of a closed circuit telecast by NCC: \"An American Pageant Of The Arts\". Suggested text of publicity folder, invitations, Newsletter: \"Footlight\", vol.1 no.3.; \"For A Cultural Capital\", Eleanor Roosevelt, 1962, United Feature Syndicate, Inc. NCC, later to be named the \"Kennedy Center For Performing Arts\". Dates- 7/62 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exchange of ideas and experience with other institutions who use audiovisual tool to communicate with museum visitors. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of appeal to serve on Virginia NEFTA committee, roster of members. VMFA appointed as the state agency for the administration of Federal matching funds; to aid in expanding the cultural horizons of a states and territories. \"Guidelines\" 1/67, NEA, Washington D.C.; \"National Foundation On The Arts And The Humanities, Question and Answers\", U.S. Government, Washington D.C., 1965. Dates- 1965 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey of membership, officers of VMFA, according to race, gender, age, position and time served. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz. Subject- Grant proposals, application, letters of support, proposal for a Regional Conservation Center, Soldiers Home, American Marine Painting, NEA statement of purpose, Museums A.S.A. Study, Museum Program guidelines, Smithsonian Puppet Theatre, Young Peoples Theatre Safari, \"American Painting 1974\" and newsletter from the Arts Reporting Service. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Financial assistance to Chamber Music Societies, season brochures, project grant application form for Va. Chamber Music Society. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Grants received by Arts/Cultural organizations in Virginia: guidelines, program committee members, agendas and minutes from the program sub- committee 3/7/68. NEFTA project recommendations for a regional conservation center. Dates- 6/76 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT survey, McLean Arts Center, guidelines for program grants. Senate Joint Resolution No. 67: to create a Virginia development study commission, bill 1483: National Foundation on the Arts and Humanities Act of 1965 and a report with guidelines for VMFA as the sole administrator of NEFTA matching grants. Study for Virginia Artist and Craftsman in regard to education and support. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Grant applications from Virginia Dance Society, VMFA, Confederation of Virginia Art Organizations and Budget proposals. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- State guidelines and general information, terms and conditions, NEA matching grant to begin statewide professional operation of VMT. Addresses of applicants for state grants, roster of Virginia NEFTA committee members. Dates- 2/66 - 6/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Regarding J.M. Brown's service on committee to evaluate grant applications. Valentine Museum NEA application, pamphlets. Date- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for exhibition \"Designer-Craftsmen 1953\" presented in conjunction with the American Craftsmen's Educational Council, Inc., (ACEC), letters to jurors, etc. Dates- 9/52-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and National Gallery of Art. Subject- preview invitations, exchange publications, excerpts from Roosevelt Art Address (from dedication of National Gallery 3/41), loan request for VMFA inaugural exhibition, etc. Dates- 3/41-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets and information about \"National Park and Recreation Week\" sponsored in Richmond 5/21-5/30, 1949. Dates- 4/49-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Geographical directory, \"Historic Preservation\" journal, vol.11, no.3, 1959 and Melchers Memorial. Dates- 1959 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Organization membership information form, questionnaire. NTHP certificate of associate membership 1971-73, employment placement and service pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Travel itineraries, objects for prospective traveling exhibitions, list of slides, forgeries and thefts. Accession and acquisition proposals. Dates- 1/61 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Conservation of objects/paintings, loans. Accessions committee meeting agenda, 10/69. Report on Authenticity of \"Marble Head of a Horse\", Heermaneck Ancient Iranian Collection. Exhibitors: The child and his World. Condition reports and repair estimates for tapestries. Photographs Dates- 12/69 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Sydney Lewis and Peter Mooz. Subject- Authenticity of Cycladic Harpist and 18th century American secretary. Provenances of various objects, conservation and treatment reports. Catalog: \"Arshille Gorky\" Dates- 1/74 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Sydney and Frances Lewis and Peter Mooz. Subject- Conservation/treatment reports, Artnian Collection of self-portraits. Conservation/treatment reports, Kent Independence Portfolio. List of Art Nouveau objects, damage reports, African Collection. Report of authenticity regarding the Cycladic \"Harpist\". Letter from Arnaldo Pomodoro regarding a base for \"Rotating Sphere\". Dates- 5/75 - 8/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Hours of operation, VMFA and other museums, attendance records, VMT, security, UNESCO newsletters 4/58 - 8/59, newspapers and magazine clippings, press releases. Dates- 7/59 - 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cheek's annual N.Y. cocktail party: guest lists, arrangements, rosters of speakers to VMFA: 1951-52 and 1952-53. Dates- 1952 - 54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newsletter to Trustees concerning exhibitions and appointments to Executive Board, accessions, building, etc. Dates- 11/70 - 8/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Morrison (P.R. VMFA), F. Palmer (P.R. consultant), D. McCammond (P.R. Reynolds Metals). Subject- Public Relations of E. Newsom and Co. to conduct a study to determine the needs and potential of VMFA. Program organization, community relations, film, book press material, schedules of events, etc. Dates- 8/58 - 9/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- A survey targeting the needs, current and future of VMFA, with solutions/resolutions for every aspect of the museums' operation. Dates- 11/58 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. A. I. duPont and F. Palmer. Subject- Roster of members of Board of Trustees, letter of appeal for pledges, principal elements of Newsom Program. Dates- 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. A.I. duPont (chair, Ann. fund). Subject- Strategy to raise funds through the Trustees to finance the Newsom Public Relation Firm program for VMFA. Drafts of letters to Trustees, progress report, minutes of 25th Anniversary Committee, 9/8/59. Dates- 12/58 - 7/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- all manner of museum operation: security, policy and procedure, personnel policy. operating budget and VMT. Diagrams of electronic console panel. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Museum business, construction and installation project schedules, budget, Equal Opportunity regulations, design contract for the Council shop, salary scales. Dates- 10/73 - 1/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum business, Conservation Lab, Fine Arts insurance coverage, budgets, Cabell Foundation gift. \"Report on the Freedom of Information Act\". Depreciation of \"Death of Regulus\", Salvatore Rosa. Dates- 12/74 - 7/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum business and operations, budget, contractual agreement between VMFA and Harwicke Associates, Inc. for North Wing project. \"Organization of the Virginia State Government\". Dates- 10/75 - 11/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- UVA architect and his membership in the Collectors Circle. Dates- 1/63 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General assistant to VMT, employment recommendation. Dates- 6/55 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Possible acquisitions from his gallery. Dates- 10/62 - 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L Cheek and J.M. Brown. Subject- Loans, exhibitions, VMT, Rotunda Club, Fellows. Accessions and gifts: \"Metamorphosis\", Grillo. Dates- 4/57 - 6/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- correspondence with individuals, institutions and companies beginning with the letter \"O\". Dates- 4/43-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, photo and job description/responsibilities as program director for \"Art Column\". Dates- 3/61 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- As a scenic design consultant, his lecture to VMT in connection with the Exhibition: \"Design For The Theatre\". College Drama Festival, biographical data. Dates- 1/60 - 2/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Mellon, E. Brooks Jr., and M. Bush. Subject- Financial support: Artmobile II, building grant and museum survey to expand visitors use to VMFA. Photographs, newspaper clippings. \"A Study in Modern Giving: The Old Dominion Foundation\", reprinted from articles in Richmond News Leader. \"Bollenger Series\", catalogue of special edition books. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Bush (Asst. to Pres. of ODF) and P. Mellon (Pres. of ODF). Subject- Financial assistance to VMFA, Artmobile II, collectors circle, and Old Dominion Foundation statement of purpose. Dates- 9/58 11/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Dan Olney. Subject- receiving a Senior Fellowship 1941/2, outline for a lecture, etc. Dates- 10/40-6/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Governor Thomas B. Stanley. Subject- opening of the new wing. Dates- 8/54-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- opening and reception for Governor Stanley. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitations and replies to the opening of the Members' Suite, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opera Society's first season. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- miscellaneous printed materials for the Museum, etc. Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- tickets to the Museum for State Lions' Club convention, etc. Dates- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- ideas/proposals for \"Members' Room\", suggested operating procedures, menus, pricing, etc., cost estimates, \"Refreshment Room Statement\" 1955, etc. Dates- 1/55-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre operations proposals, list of staff, their duties and salaries, etc. Dates- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- lists of statewide business, civic, commercial and other organizations, invitation list for General Assembly/Governor's reception, etc. Dates- 1953-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Orloff's (Chief-interpreter of U.N.) lecture to VMFA concerning the Faberge Collection, Biographical data. Dates- 11/49 - 4/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of inquiry to firms specializing in plaster and wood ornament, catalogs. Dates- 5/54 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- museum practices especially concerning finances of other US art museums, etc. Dates- 4/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Near and J.M. Brown. Subject- Artmobile, VMT, Collector's Circle, Fellows, Chapters/Affiliates, biographical data, campaign to restore the Jefferson Hotel, list of exhibitions from 1942 - 45.  International Exhibition Foundation, the appointment of John A. Pope (Director of Freer Gallery) as advisor/consultant to VMFA for expansion of Far Eastern Collections.  Acquisitions and gifts. Artists: Nell Blaine, Howard Kanovitz, Otto Piene. Gifts: Masson lithograph, Irving Penn photo and 15 Russian 19th century paintings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Painter's lecture on \"Armor and Medieval Man\" to compliment the \"Arms and Armor\" exhibition, biographical data. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Nelson Parker. Subject- announcement of Board meetings, etc., Date- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Appeal to Virginia Senate and legislature regarding sufficient museum parking utilizing land belonging to the UDC (United Daughters of the Confederacy). Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gift of Egyptian Gallery and English Decorative Arts Gallery. VMT, and her membership as a Fellow and in collector's circle. Dates- 4/61 - 10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. J.G. Pollard and Executive Committee of the Board. Subject- proposal and planning stages of conferring an honorary degree of \"Patron of the Arts\". Dates- 6/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject-housing J.B. Payne books in library of the College of William and Mary in exchange for paintings from their collection of art for display at the Museum. Dates- 1/50-4/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek's service on the Board of Trustees and on the Advisory Board of the School of the Arts. Minutes of U. of P. Executive Board, 4/8/60, 4/29/63, 4/26/65 and Annual Report of Graduate School of Fine Arts, 3/64, 5/65. Dates- 10/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek as chair of Fine Arts Committee. Subject- Letter to P. Coombs on his appointment as Assistant Secretary of State for Educational and Cultural affairs, UNESCO newsletter, Nubian archeological sites. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and A. Frankfurter (editor, Art News). Subject- VMFA general collection, list of gifts and purchases, 1955-67, scope of exhibitions, dates, publications, colorplates. List of VMFA Board of Trustees, 1962, Gobelin Tapestries. Dates- 1953 -64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Articles based on exhibitions and general collection of VMFA, VMT, invoices, newspaper clippings, pamphlets, reviews, newsletters. NEA museum programs, research education grants. Dates- 1967 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Articles of VMFA: \"A Spring View of Virginia Museum\", 10/56, Wm. Lacey, Editor; \"Art isn't Caviar at this Museum\", Sidney Shalett, 7/57, The Diplomat. Dates- 10/56 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Articles and editorials pertaining to VMFA: Newsweek, Time, Art Gallery, Antiques, Museum News , etc. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Harper's Bazaar, New York Magazine, Apollo, reviews. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Editors V. Dabney (RTD) and J. Kilpatrik (RNL). Subject- Artmobile, reviews of VMT and media coverage by print journalists, newspaper clippings. Essay- \"The Arts In The Sixties\", by L. Cheek. Dates- 11/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and F. Stewart and C. Jones. Subject- Exhibitions: \"Form Givers\", Sport and Horse\" and Mellon Collection. Dates- 2/60 - 12/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information on candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Job descriptions. Dates- 1953 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, P. Near and L. Cheek. Subject- Fellowships: list of recipients from 1940 - 1955. Prospective employees and VMT. Dates- 12/54 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- personnel rules and procedures of VMFA and the Commonwealth of VA, mandates from the Governor's office, additional personnel and pay increase requests, Roster Cards (listings of all employees and pay rates), etc. Dates- 8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., and R.A.Velz (Administrator). Subject- listing of division duties, proposed salary ranges, information about hiring an artmobile driver-curator, etc. Dates- 2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of L. Cheek, Mrs. J.G. Pollard, theatre staff, Ariel Ballif, Vincent Bowditch, Arthur Ballet, R. Velz and P. Near. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Personnel matters. Dates- 4/66 - 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains general information about the system and ratings for museum employees. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about the candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about various candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Governor's personnel survey staff. Subject- employment questionnaire, job descriptions (buildings and grounds staff, watchman, registrar, secretary, etc.), etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Governor's personnel survey staff. Subject- employment questionnaire, VMFA tentative classification of positions (3/37). Dates- 10/36-4/37.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Fiske Kimball (Director of Penn. Museum of Art). Subject- loans for VMFA inaugural exhibition, exchange publications, counsel on museum practices, etc. Dates- 5/35-5/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R.L. Dickinson (Hanover Bank). Subject- The Library of Philanthropic Information at the Hanover Bank, New York City. Dates- 11/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- E. Turpin Phillips, a Virginia citizen and his request to see proposal plans for expanded museum parking onto UDC property. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Consultant for VMFA acquisitions. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Duncan Phillips (Director, Phillips Memorial Gallery). Subject- request for loans to VMFA inaugural exhibition, etc. Dates- 9/35-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Installation of VMFA photography department, list of equipment and supplies, employment of staff photographer: Gordon Burns. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of entries to the \"19th Photographic Salon\" exhibition, schedule for jurors, etc. Dates- 3/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) and L. Cheek, Jr. Subject- purchase requests for photographs. Dates- 10/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Ivan Dimitri as Director of Photography in the Fine Arts at the Brussels World's Fair, his service on the advisory committee, list of photographs given to VMFA from the PFA exhibition. Directors of America's Finest Museums: portraits, credo of on art and their personal selection of photographs from the PFA archives was the subject of the World's Fair exhibition. Etching by Levon West (Ivan Dimitri). Dates- 12/59 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Atillio Piccirilli. Subject- biographical information, loans of work to the Museum, etc. Dates- 7/35-1/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- viewing the feature film 'Pictura \"An Adventure in Art\"', invitations, contributions, listing of attendance, etc. Dates- 2/52-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Herman Starr (Pres. Pictura Corp). Subject- A group of films devoted to the fine arts. Presentation of \"Leonardo da Vinci\" at Richmond's Lee Art Theatre and film on Goya to accompany exhibition. Dates- 1/51 - 3/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Gallery dinner, menu, agenda, program for event. Dates- 8/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- policies on use of meeting rooms and studios, special food service, interpretative services, scheduling programs, etc. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence to and from him when he was President of the Board of Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- the VMFA inaugural exhibition, Museum events, finances, Museum Board business and bequests/gifts to the Museum, etc. Dates- 1/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- Museum operations, investments, finances and gifts to the Museum, etc. Dates- 1/37-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as President, Trustee and membership in the Collector's Circle. Biographical data, museum business: operating fund, Artmobile, Newsom Report, 25th Anniversary fund, Melchers Estate transfer, gifts, contributions, Fellowship Fund. Exhibitions: Sport and Horse. Dates- 9/53 - 2/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as a Trustee, VMFA Resident Craftsman Program. Dates- 2/64 - 2/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Design of members Bulletin, records retirement, museum business. Dates- 1949, 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum business, Pratt installation, museum courses and equipment. Dates- 9/54 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Gift of \"Rotating Sphere\" from Lloyd Noland. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- As founder and director of the Barter Theatre, proposed plans for Theatre Virginia and NEA funding. Dates- 4/67 - 5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and Mr. David Payne. Subject- correspondence with Payne about arranging the exhibition \"Portraits by David Payne\", biographical information, letter from Phillip Johnson, etc. Dates- 5/51-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, L. Cheek, Priscilla Crum (Curator, Asst. in Education). Subject- Gallery representing portrait artists, biographical data on various artists and portrait of Senator Byrd. Photographs. Dates- 6/45 - 11/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statewide tribute to John Powell (a native of Virginia) and the presentation of his \"Symphony in A\". Date- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Correspondence with Pratt as a trustee. Discuss first Easter egg exhibition in 1949 and Hammer visit. Letter from Schaffer (A La Vieille Russie) in 1949 about lending some pieces for an exhibition. Includes a few letters from Mrs. Pratt before she died, about a Faberge table donation in 1942 and donating \"Twice Seven\" to the Library. Establishment of the Fellowship fund, including letter from Twombly as early recipient. Pratt Collection: insurance estimates and installation. Gift of funds to purchase the first Artmobile from Pratt and Miller and Rhoads. Dates- 7/40 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, Fellowship committee, underwriting of Faberge booklet, terra-cotta statue of \"Diana\" from the Pratt Estate given to VMFA, newspaper clippings. \"A Plan For Fellowships For Virginia Artists\" as suggested by Mr. John Lee Pratt. Minutes from Fellowship Committee meeting, 6/12/42. Dates- 12/49 - 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. John Lee Pratt. Subject- Trustee/Museum business, VMFA fellowship updates, etc. Dates- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown. Subject- Biographical data, fellowship recipients: Cynthia Morehead Smith, Paul Steuke, June Chapman, Fred Bonds, Richard Kevorkian and Reginia Perry. Pratt Collection: catalogue, except from forward by L. Cheek, questionnaire regarding Mrs. Pratt's initial contact/purchase sources for Russian Jewels, list of objects bequeathed by Pratt Estate. Dates- 1/57 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposals and cost estimates for Healy's Sitters exhibition and Pratt collection catalogues. Dates- 4/50-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek, Armand Hammer (Hammer Gallery) and Alexander Schaffer (La Vielle Russie Gallery). Subject- Legal claim against the Romanoff Family assets via the Pratt Collection of Russian Jewels. Possible lawsuit by A.G. Sharkey, President and Trustee of Marine Transport Service Corporation in NY who had judgment against Czar Nicholas Romanoff since 1918. Hammer and Schaffer dismissed it. Details of Pratt bequest, provenance of objects, announcement of bequest with sample of text to be used in pamphlet. Excerpt from \"Twice Seven\", by H. C. Bainbridge, E. P. Dutton and Co. Inc., 1934 (reference to Faberge Jewels owned by Armand Hammer). Dates- 8/47 - 10/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. J. G. Pollard. Subject- Installation, list of items on exhibition, security and transportation. List of objects in the collection of Mrs. Joseph E. Davies and pamphlets. Correspondence regarding various showings around the state - Roanoke in 1950 and Norfolk in 1951. Dates- 1/49 - 4/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from C. Humelsine. Subject- General correspondence to the VMFA membership, calendar of events, museum news. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to the media from the Museum. Subject- news releases about Museum events. Dates- 10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News releases about Museum events. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- positions and duties for volunteers and guards during an undisclosed preview. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Gov. Price. Subject-proposed salary increases, Board meeting announcements, nomination of Colt to select work to go to the Annual Exhibition of American Art 1938. Dates- 1/38-11/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- On the occasion of his being collector of the Year 1964, his cookbook including photographs of VMFA and the menu from the Collectors Gala, newspaper clippings. Gifts: Lachaise drawing. Dates- 6/63 - 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Grigaut and P. Near. Subject- A. Priest as Metropolitan Curator of Far Eastern Art, his service as a consultant to VMFA (1963-69) in the formation of the Asian collections. Correspondence on examination and provenance of works in the VMFA. Minutes of Executive Committee, 9/9/63, 12/8/64, minutes of Accessions Committee Meeting, 9/9/63. \"A Buddhist Paradise\", A. Priest, AIV, 1963. Newspaper clippings, postcards, etc. Dates- 1963 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) and Mrs. J.G. Pollard. Subject- printing schedules for 1956, miscellaneous print job specs, etc. Dates- 11/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- asking local corporations to fund the printing of school guide sheets for the Museum. Dates- 8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence pertaining to bulletin layouts, copies of Members Bulletin Vol.9, No.'s 1and7 and copies of Christmas cards 1948-9, etc.. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum publications: Contemporary Paintings 1946, Program Season of 1947-8, The VMFA Annual Report 1947-8, Virginia Art 1947 and Museum Bulletins: Vol.3 No.'s 1,2,4,6and9,  Vol.4, No.'s 4and5,  Vol.7, No.'s1,2,3,4,5,6,7,8and9,  Vol.1, No.8,  Vol.8, No.'s 2,3,4,5,6,7,8and9,  Vol.9, No.'s 1,4,5,6and8. Dates-9/42-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- securing a speaker (Robert T. Paine) for the exhibition \"Prints by Hiroshige\", thank you note to Mr. Paine, etc. Dates- 11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed programming for the Museum. Dates- 2/49-9/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and lecturers. Subject- proposed program/events and exhibition schedule, biographical information on lecturers, etc. Dates- 10/50-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- Artmobile schedules, Three-Days-In-March, members travel, grants, pamphlets. \"Proposal For The Development Of American Writers And Resources With Special Emphasis On The Production Of New Forms Of Drama Created Especially For Television\"; The Mark Report\": A survey and evaluation of VMFA statewide programs. Dates- 1974 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safaris, Artist-in-Residence, lectures. Film series: \"The Romantic Rebellion\", exhibitions, COVA events, agendas, Professional Workshop. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Nancy Durett. Subject- violin recital 4/47. Dates- 4/46-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- memos to determine dates for the Trust Fund Orchestra to perform at the Museum. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- VMFA educational services, VMT and all manner of print and broadcast media promotion. Exhibitions, publicity schedules, press releases and newspaper clippings. Dates- 9/50 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General invitation to groups to participate in VMT. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Prospective givers: foundations and individuals. Date- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newsom Report: \"A Report To The Virginia Museum Of Fine Arts\", 11/19/58, Earl Newsom and Company, a study of VMFA public relations, information and communications responsibilities. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Various outside publications mentioning VMFA, 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Design and production of AIV: promotion, organization, printing schedules, contributors , etc. Catalogue \"Architectural Drawings in Virginia\" and \"\"Confessions of an Ex- Elitist\", M.W. Fishwick, Popular Culture Association, American Studies Institute, Lincoln University. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photo of the Museum and of the \"Brussels Tapestry Exhibition\" 1949, Museum publications: VMFA Catalog of Paintings 1938, The Collection of Catesby T. Jones, 1948, and the following VMFA Members' Bulletins: vol.10, no.'s 1-5, etc. Dates- 1938-1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- copies of the following publications: The VMFA Annual Report 1947-8, The T. Catesby Jones Collection, Contemporary American Paintings 1948, William James Hubbard, Three Virginians Behl, Hunter, Blaine, Portrait Panorama, Program Season of 1947-8 and Member's Bulletins: Vol.1, No.8, Vol.8, No.'s 2,3,4,5,6,7,8and9. Dates- 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release, jurors. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the Parsons gift of the Egyptian Gallery and 25th Anniversary Fund Committee. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations to the VMFA's 25th birthday celebration for the affiliates, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release announcing loan of Chinese wine vessel. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 25th Anniversary projects, press release: message from the President (Robertson). Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Appeal to Trustees for contributions to the Drama Festival.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: 28th Virginia Artists Rotating Exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing a network of local art centers and museums affiliated with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VMFA as regional jury center for the national exhibition \"Designer-Craftsmen-U.S.A.\", news releases, information on obtaining a jury and a speaker, etc. Dates-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Va. Architects, Photographers and Designers, seminar for Historical Administrators, VMT and Virginia Composers Concert. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release and photo for first issue of AIV. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release on Arts in Virginia. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains a cover letter for a mailing, no date. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing 25th anniversary events, exhibitions, VMT, etc. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing conclusion of 25th anniversary celebration with the presentation of awards to Colonial Williamsburg, The Old Dominion Foundation, sculptor: Carl Milles, architect: Eero Saarinen, collector\" Robert Lehman and Naval designer: William F. Gibbs for their outstanding contributions to the Arts in Virginia. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- obtaining the exhibition \"Built in the U.S.A.\", presenting programs related to the exhibition, biographical information on Phillip Johnson, etc. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photo of \"Little Triton\" fountain for the Bulletin, copy of Members' Bulletin vol.15, no.1(9/54), etc. Dates- 9/53-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Members' Bulletin. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Members' Bulletin, calendar of Museum events. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vol. 13 no.'s 1-9, 1952-5/53; vol. 17 no. 8, 2/57; vol. f19 no.'s 7 and 8, 3/59 - 4/59. Biographical data on Iren Marik, pianist, and reviews. Dates-1952 -53, 1957, 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vol. 20 no.'s 4-6, 12/59-2/60 Dates- 12/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases: Tours organized through Virginia Federation of Women's Clubs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases: season opening production and call for volunteers. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Extended performances of VMT's \"Carousel\". Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Bus trips to VMT. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of certificate winners and a gallery guide from the \"Virginia Artists\" exhibition 1955. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Portions of VMT concert to be broadcast with commentary and explanations of technique. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Programs and photographs. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Information regarding the Museum's chapters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photographs [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing festival with guest artists: Helen Tamris and Daniel Nagrin. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Critic, Stella Adler, Speaker: Alfred de Liagre. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- TV news film of highlights of the College Drama Festival, script, telegrams and surveys to Virginia TV stations concerning air time and usage. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Announcement of individual participants announcing their attendance in the festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loan of Cone collection from the Baltimore Museum of Art to VMFA for an exhibition, a catalogue of the Cone collection, news release about the  bequest of the collection to the Baltimore Museum of Art, etc. Dates- 10/49-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Public information schedule for exhibition: \"The Architecture of Skidmore, Owings and Merrill\", \"The Little International\". Artmobile public and information schedule and Bulletin, vol. 19, no.2 10/58. Essay- The Little International Exhibition\", Fred Olsen, 4/57. Dates- 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills, reviews and biographical data.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- list of designers proposed for inclusion in the exhibition \"Design for Theatre\", tentative list, etc. Dates- 8/52-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing loan of painting by Winslow Homer. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Evaluation of the Discovery Television Series sponsored by the San Francisco Museum of Art. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Statewide Press Release announcing fellowships 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press Releases regarding fellowships 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills and posters. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Buckminister Fuller. Subject- Exhibition of the work of 13 leading architects, opening lecture given by Buckminister Fuller, list of catalog content, gallery talk, press release, invitations and biographical data. Photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing formation of a fundraising committee for the 25th anniversary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions: \"Drawings From Five Centuries From The Cooper Union Museum\", \"Hans Moller\", \"Is Photography An Art\", \"Sport and the Horse\", \"25th Anniversary\". Parsons gift of the Egyptian Gallery, Chamber Music Society, Virginia Artists, evening hours, speakers/lecturers, Virginia Art Alliance, state services, Fellowships, Search for a female collector with a collection of Imperial robes. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases announcing exhibition of contemporary glass. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions: Skidmore, Owings and Merrill (AIA for Reynolds Building), publicity, progress report on exhibition arrangements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Ivan Dmitri. Subject- Symposium on photography conducted by Dmitri with a panel composed of: A. Hyatt Mayor (MET) and Hilton Kramer (Arts Magazine). List of paintings and photograph comparisons and press releases. Photographs. Dates- 10/59 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Status report of the Broadway production. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about the loan exhibition. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Speaker 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: History of Lynchburg Center published in the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Brief film on masterpieces of American silver, script and outline for the 25th anniversary program. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains press releases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains layout and planning for the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of the moving of art objects, installations, physical plant and behind-the-scene workshops and people.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Editorial Writers, agenda, and guest speakers, exhibitions, events, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Ms. Nemone Balfour. Subject- a ballad concert given by Balfour sponsored by the Museum, new release, printed material, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: R. Neutra lecture in coordinate with his VMFA exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitations to grand opening of the 10/54 VMFA addition. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the Norfolk Museum affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Bus tour and photograph. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of galleries. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing gift of marble statue \"Dawn of Young Womanhood\", Oronzio Maldrelli from Miller and Rhoads Department Store. Press releases from: Mariners Museum, National Gallery, Henry Ford Museum, Walker Art Center and the MOMA. Dates- 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: purchase of Patronship by Richmond businesses for season tickets to VMT.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- radio transcripts and publicity releases. Dates- 1948-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases, publicity schedule 6/26- 7/22. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 5/56-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 4/51-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 1952- 5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases for various museum events: theatre, exhibitions, films, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Affiliation announcement of the Roanoke Fine Arts Center 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the loan of \"The Ecstasy of St. Francis\" by Carravaggio. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release announcing the acquisition of a rare funeral monument from 2nd century B.C. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Advertising copy and selection of artist to draw a cartoon. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release for VMT promotion. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing special schedule to accommodate bus trip from out of town. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity schedule and advertising copy. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- scheduling a speaker (Bernard V. Bothmer) to coincide with the exhibition \"Smith's Egypt\", photo and biographical information about Bothmer, etc. Dates- 6/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition and Publication information regarding \"Sport and the Horse.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- News Releases regarding newspaper column 1960. The column was carried in 50 Virginia newspapers as 42 weekly articles by Cheek. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Syndicated column written by Cheek as part of a promotion for the Museum's 25th anniversary. Contains a mailing schedule for the column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Return forms from newspaper publishers regarding column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Promotional letter for newspaper column. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast script for performance promotion. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from G. Friddell (Public Information Director). Subject- controversial nature of the \"American Painting 1950\" exhibition, James Johnson Sweeney was the juror for this exhibition, Sweeney biographical information, News Releases, exchange/gift publications of the catalogue to this exhibition, etc. Dates- 1/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast script promoting 25th anniversary year. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 25th Anniversary, broadcast scripts, VMT and list of Virginia and Washington TV stations. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast promotion script. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release with performance information  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release for VMT promotion. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release concerning a 25th birthday year magazine, the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Tours arranged by Virginia Federation of Women's Club in 6 Virginia towns to see VMT production of \"Carousel\" Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews of show. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Introductory speeches. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"The Tempest\", \"The Mad Woman of Challiot\", \"Berkeley Square\", \"I Remember Moma\", \"Noah\", \"Blind Alley\", \"The Devils Disciple\", \"High Tor\", \"Oh Wilderness\", \"Private Lives\", \"The Petrified Forest\" and \"Victoria Regina\". Dates- 1955 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Assigned design projects and newspaper clippings. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- National broadcasts focusing on topics of national interest, VMFA requests for financial assistance to host a \"Meeting\", pamphlets and photograph. Dates- 1953 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Aubrey Bodine and Gordon Bunshaft, biographical data, Competition promotion, preliminary text for official entry forms, press release. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- list of pieces included in the \"Virginia Artists 1953\" exhibition, list of purchases made from the exhibition, information on the jury and on purchase prizes, letter from Jacques Lipchitz, etc. Dates- 12/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about the exhibitions and photographs of the artists and their works. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Jurors: Richard Lippold, Isabel Bishop and Perry Rathbone. Press release announcing event.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Eighteenth annual exhibition held at the Museum and sponsored by the Camera Club of Richmond. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- fountains that flank the Museum's front entrance. Dates- 9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photo of conservation lab, gift and exhibition of the Williams collection of art at VMFA, announcements to and articles in major art publications about the gift of the Williams collection. Dates- 3/52-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition \"The American Cartoon\", original American cartoons from the collection of Mr. Art Wood, invitations and R.S.V.P.'s to exhibition preview, photos of some of the pieces of cartoon art, etc. Dates- 5/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Wm. Quillan Jr. (President of Randolph Macon Women's College). Subject- Loan of Randolph-Macon's collection of paintings. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Isobel C. Lee (Steuben Glass). Subject- Loan from Queen Elizabeth, installation, lighting and press-release. Dates- 7/10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, AAM, Jamestown Foundation, loans, Accession, gifts, biographical data and resumes. Exhibition: Randolph Macon Collection. Letter from Richard Rogers to lecture to VMT, Reston Foundation: Minutes of the Executive Meeting, 9/12/60. Dates- 9/60, 5/62 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Loans, contributions, acquisitions, exhibitions and Africa Gallery. Dates- 1/68 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to W. C. Cottrell (Elec. Corp.). Subject- Proposal and technical information for Audio-Guide radio-lecture, pamphlets, blueprints/plans of galleries. Dates- 5/72 - 8/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Priscilla Crum and M. Christison. Subject- Broadcast of Biennial Jury, notes from WMBG broadcast, 12/6/46, \"What Is Your Art Museum\", participants: Priscilla Crum (Curator of Education), Edward Davis III (Curator of Decorative Arts) Mrs. J.G. Pollard and T. Colt. Notes from WLEE broadcast, \"Know Your Museum\": a weekly series with guests from the local arts community and \"For Parents Only\": a children's radio program. Dates- 2/46 - 11/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- radio talk shows and transcripts. Dates- 12/37-9/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr.and Mrs. Robert C. Randolph. Subject- the loan of a portrait of Wm. Henry Harrison by Rembrandt Peale to the Museum for the inaugural exhibition and an additional later loan. Dates- 9/35-11/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek and Mary F. Williams. Subject- The service of Beatrice Von Keller as VMFA Acting Director during Colt's military duty. Biographical data, Randolph-Macon Collection including the acquisition of the Bliss Collection. Dates- 7/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Hours of operation, policy, menu. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Frank Rehn Gallery. Subject- loan of paintings to inaugural exhibition of VMFA and later proposed acquisitions from the Frank Rehn Gallery, etc. Dates- 9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Artist from West Virginia: application and recommendation for a Rosenwald Fellowship by T. Colt. Dates- 6/49 - 10/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rennolds' service as a Trustee and entertainment committee. List of objects in the home of her mother, Mrs. John Kerr Branch, that may be of use to the VMFA. Dates- 1/53 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Policy and requests for rental of museum meeting rooms. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for state/federal funding for the creation of the \"Latrobe Theatre\" (never built), a professional theatre organization. The design of the Theatre was based on plans by the 19th century architect Latrobe. \"The Virginia Museum Theatre\", statement of facts in relation to charges appearing in the Richmond Times - Dispatch, 10/13/66. Subject- 8/65 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of requests and general correspondence. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, Edward Kallop and L. Cheek. Subject- Inquiries concerning specific artists, objects, valuations, conservation/restoration, etc. Dates- 6/56 - 6/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek served on the Board of the Reston Foundation Community Program, includes roster of board members. Dates- 11/10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to the Executive Director of the Reston Fund. Subject- L. Cheek's membership on the Board, and proposals for development of the Reston Community, low-cost housing, maps, agendas, Reston architects, Minutes of Annual Meeting- Reston Community Foundation,12/15/64, 4/25/65, 11/12/67, 4/8/68. Dates- 6/65 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMFA membership and letter of condolences to the Reynolds family. Dates-10/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. cheek. Subject- R. J. Reynolds service as Chair of VMFA promotion and development committee. suggested organization agenda for the meeting of the Public Relations Development Committee, to further the advancement of VMFA. Contributions, invitations and photographs. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"R.S. Reynolds Memorial Award\", awarded annually to the architect or group of architects who make the most significant contribution to the use of aluminum, aesthetically or structurally, in the building field. Theodore Rozak chosen to commission the first sculpture. Dates- 5/58 - 11/6 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Miss Katherine Rhoads. Subject- a bequest to the Museum. Dates- 5/35-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from G. Martin (Secretary of VMFA). Subject- Rhoads Medal awarded to persons who have made a notable contribution to Art in Virginia; list of recipient, excerpts from the Minutes of the Executive Board, 5/25/69/. Biographical data on Concetta Scaravaglione, designer of medal. Medal awarded to Walter Spencer Robertson. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence to and from Rhoads as Vice-president Board of Trustees. Dates- 1934-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contributions to a purchase fund in his memory. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek, Mrs. J.G. Pollard and P. Mellon. Subject- Museum business, exhibitions. Pratt Estate, John Barton Payne Endowment, Resolutions in memory of Judge Payne, resignation of Colt, Fellowships. List of employees and job descriptions. List of Benefactors, Patrons and Life members, Board of Trustees, Rockefeller Foundation, segregation, contributions, gifts and accessions, including Mellon. Dates- 11/40 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W. Robertson, Mrs. J.G. Pollard and W.S. Rhoads. Subject- General letter to membership from the President (W.S. Rhoads), Webster S. Rhoads Medal, Artmobile III and South Wing. Dates- 1951 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General Museum Business, VMT, policy regarding expense accounts and museum entertaining. Dates- 5/57 - 11/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitation list, invoice for cocktail party honoring W.S. Rhoads. Dates- 5/8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Westwood Winfree (Pres. RAA). Subject- Winfree's participation in the Virginia Rotating Exhibition and other events. Requests for restructuring of jurying procedure. \"Reasons For Suggesting A State-Wide Artists Study Committee To Be Sponsored By The Virginia Museum Of Fine Arts\". Dates- 2/56 - 9/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Richmond Chamber Music Society programming seasons: 1950-1, 1951-2, 1952-3, 1953-4 and 1954-5, membership rosters 1951-2 and 1954-5, etc. Dates- 10/50-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed policy for relations between VMFA and Richmond Chamber Music Society (conducting events there), listing of Society members, etc. Dates- 1/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- To increase Jaycees interest and support of VMFA. List of member organizations. Certificate to L. Cheek as a member of the \"Civil War Centennial Committee\", Minutes from the \"Society of Architectural Historians,1/30/58. The presentation of the \"Distinguished Service Award\" to L. Cheek. Dates- 11/60 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Disturbances in area of Westmoreland Place (Cheek residence), Cheek's Anniversary Party. Presentation of Canal Locks to Mayor M.M. Crowe. Dates- 2/64 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Field trips taken to the museum by schools throughout the state, 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Broadening cultural horizons in Richmond, proposal for Civic Center in downtown Richmond and the necessary steps for improvement of downtown, editorials, newspaper clippings. \"Plight Of Museums Is Very Real\", L.J. Ahlander, 11/25/65, Washington Post, \"Activities Center Study For The City Of Richmond\", Wm. A. Briggs A.I.A. and B.R. Johns A.I.A., Associated Architects, 8/1/64, \"Modern Living\", 11/6/64, Time and \"Are Most cities Too Ugly To Save\", 11/30/64, U.S. News and World Report, Inc. Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains financial statements for the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- proposed relationship of The Richmond Film Society with the Museum (use of Museum facilities), Film Society programs 1951-2, 1952-3, 1953-4, 1954-5 and 1955-6, etc. Dates- 6/50-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of compliment to editors and journalists of Virginia periodicals regarding VMFA. Dates- 7/58 - 19/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Priscilla Crum, T. Colt, L. Cheek and M. Christison, Theresa Pollack, H.H. Hibbs and Mrs. J.G. Pollard. Subject- Exhibitions and musical programs. Dates- 9/45 - 11/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, J. Schaeffer (General Manager, RSL) Subject- Opening performance and concert dates. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gala opening event of Artmobile. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Willock (Exec, Dir.). Subject- Renewal of Affiliate members. Dates- 1961 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Charter proposal for a Roanoke museum and minutes from the Roanoke Fine Arts Committee. Dates- 12/47 - 9/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Special building committee, draft of letters from Affiliates/Chapters in support of VMFA expansion to be sent to the House Appropriations Committee , members of the Senate and members of the State Finance Committee. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and E. Will (Pres.). Subject- Purchase of \"St. John the Baptist\", Rodin, in memory of W.S. Robertson. Dates-2/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile proposal, museum business, exhibitions: \"George Stevens Makes A Film\". Fellows organizing campaign, selected list of paintings in VMFA permanent collection. Rosters: Members of commission of State Capital and Outlays and Means of Financing; VMFA Executive Officers and committee's. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter from the President to the membership (W. Robertson), grant proposal for North Wing architectural plans.  List of objects needed for VMFA collections.  Rejection of the north facade by the Arts Commission.  Schedule of events, newspaper clippings.  \"Connoisseur's Comments\", guided VMFA tours narrated by world-famed collectors, critics and curators.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- letter of interest in erecting a monument to Bill Robinson. Dates- 12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rockefellers' membership in the Fellows and their subsequent donation to aid in the Drama Development program. Dates- 1955 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Charles Fahs (Dir. Rockefeller Foundation), W.S. Rhoads. Subject- Proposal for the formation of VMT with initial funding from the Foundation, \"Charter for the Rockefeller Foundation\": Statement of purpose and methods of operation. Dates- 1/50-12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Roman Bronze Works Inc. Subject- casting busts of Gov. Pollard and Judge Payne and casting other figurative groups. Dates- 9/35-1/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of authentication. Dates- 4/60 - 8/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Addresses made by F.D. Roosevelt upon the opening of the Museum of Modern Art. Dates- 6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Matilda McCord Roper (Mrs. George W. Roper). Subject- donations. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, expansion of VMFA print collection, The Alverthorpe Collection, loans of prints. Dates- 8/65 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA as recipient of a rose garden by the Garden of the Patriots. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- M. Ross as VMFA advisor, on retainer, for Byzantine and Medieval acquisitions. the Heeramanecks and Hunt Collections. Dates- 9/65 - 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data and brief history of Rothschild family. List of paintings in VMFA from Rothschild Collection. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Text and pamphlet for the opening of the Melchers Room. Photographs. Dates- 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Edward B. Rowan. Subject- mural competition for post offices in Petersburg, Hopewell and Richmond. Colt acted as chairman for a regional committee to carry out this competition for the Procurement Division, Public Works Branch of the Treasury Department, etc. Dates- 3/30. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- securing a speaker (Mr. Everett Parker Lesley, Jr.), obtaining a transparency from Time magazine of one of the Museum's eggs, etc. Dates- 3/53-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- General correspondence to Trustees regarding Museum business and events. Photographs and slides. Date- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- General correspondence regarding loans, acquisitions and invitations. Dates- 1/62 - 11/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Eero Saarinen. Subject- Aline Saarinen broadcast on the VMT Shakespeare Preview. Drawing. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition: \"Master Drawings\", with lecture by Paul Sachs. Theft of Degas drawing on loan to VMFA from the Fogg. List of London and Paris art dealers. Dates- 5/51 - 6/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- letters from other U.S. Art Museums about staff salaries and Curator's Report activities from the 1st season 1/16-5/24 1936. Dates- 1936- 7/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for purchase of cases from the Greek Gold exhibition. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Form letters: members, advertisements, donors, other institutions regarding loans, lectures and publication requests, etc. Dates- 1967 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuels gift of building for the Front Royal Library. Loan and cleaning of \"View Near Oxford\" by Richard Wilson. Dates- 4/52 - 9/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- 10th Miller and Rhoads Women's Forum; invitation to Philip Johnson to serve as a speaker. Biographical data on James Parton and Max Abromovitz. Dates- 8/51 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Hans van Weeren-Griek. and Concetta Scaravaglione. Subject- exhibition of her work and insurance of a piece that was damaged. Dates- 9/40-7/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events and mailing schedules. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events and mailing schedules, Paul Taylor Dance Tour, Safari-Dinner, agendas, etc. Dates- 7/70 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Appraisal of an agate cup belonging to Mrs. Paul Mellon as a work of art, for the Customs Commissioner. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- war-time high school art exhibition held at Miller and Rhoads department store, list of hostess for this event. Dates- 1943-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Invitations and general correspondence regarding the opening's of new art centers/buildings of various institutions, anniversary celebration, National Presentation Broadcast of Artmobile. Dates- 9/60 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.G. Pollard. Subject- Loan of items in his Collection to VMFA and his service as Vice-President. Exhibitions: American Contemporary Prints and Sport and Horse. Melcher Estate, accessions and acquisitions, list of gifts to VMFA. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Scott, Horner and Mason, Inc. Investment Securities in Lynchburg, VA. Subject- possible investments by VMFA, financing the new wing and the possibility of matching a Public Works Administration grant. Dates- 5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Seay collection of Decorative Objects, list of objects in Seay home. Dates- 1/39 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and letters to and from Leslie Cheek. Dates- 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Service reports on traveling exhibits. Dates- 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about slide loans. Dates- 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum Services. Correspondence regarding loans 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Houdon statue of Washington on loan to VMFA, insurance valuation. Seymour's lecture on \"Houdon in America\" and panel discussion on contemporary sculpture. Opinions on dating and provenance of VMFA objects. Dates- 5/50 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Shalett's articles on the VMFA for the \"Saturday Evening Post\" and \"The Diplomat\" Dates- 8/56 - 10/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, letters of invitation to VMFA events, College Drama Festival. Melchers Estate: \"The Last Supper\", newspaper clippings and postcards. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Virginia Film Society, Dance Tour, VMT: job descriptions, Table of Organization, staff hours, Theatre Associates and Annual Theatre Train. Date- 4/66 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Agenda and events for Entertainment Committee, loan of Col. Anderson bequest items. Dates- 1/59 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and E. Shiflet (Sec. of Education). Subject- budget, museum business, financial profile, role of office of Education and pamphlets. Executive Order #20 and #21: Reassignment of VMFA to the Office of Education. Dates- 8/72 - 12/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dealer in antique English silver and his gift to VMFA of a silver teapot. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT, juror search, biographical data, exhibition catalogues, loans of art work, accessions, gifts and general museum business. Dates- 1956 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- General correspondence, exhibitions, requests for publications, pamphlets, invitations, exhibition catalogues, A.D. and W.C. Williams Trust Fund. Photographs. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- paperwork authorizing R.A.Velz and W.J. Rhodes to sign vouchers and checks, list of Virginia Museum Theatre expenditures 1956-7. Dates- 2/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Blank stationary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- excerpts from Virginia Architecture exhibition catalogue, miscellaneous correspondence about catalogue,  etc. Dates- 11/58-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- compliments on exhibition \"Architecture in Virginia\", thank you notes to the Museum about exchange/gift publications of exhibition catalogue-Architecture in Virginia 1776-1958: The Old Dominion's Twelve Best Buildings, etc. Dates- 9/58-4/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- biographical information on various 20th century architects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- G. Smith (architect, writer and photographer), biographical data, and his collection of Travel Posters. Newspaper and magazine clippings, invitations. Application for Fulbright grant. Dates- 2/52 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Her membership on Executive Board, donation and contributions. Dates- 5/51 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Marrow Stuart Smith, Virginia artist, correspondence with museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of alumnae in Virginia. Dates- 9/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Christison, and Mrs. J.A. Pope (International Traveling Exhibition Service). Subject- Exhibition: \"Swedish Textiles Today\": catalogue, pamphlet. Brussels World's Fair, U.S. Pavilion. Catalogue of Traveling Exhibitions for 1961-62. Dates- 4/53 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- S.A.H Directors meeting in Richmond, formation and organization of a Virginia chapter: agendas, lists of prospective members, directors of S.A.H., minutes from S.A.H. meeting. Dates- 12/52 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Meeting agendas, Architects Virginia Tour, preservation of the National Capitol, Shirley Plantation, landmarks in danger. Proposal to coordinate the activities of the SAH with AIA and the National Trust for Historic Preservation in the field of Historic Buildings Preservation. SAH: Minutes of Executive Board, 10/26/57, 5/17/58, 10/18/58, Treasurers Report, 1/58-4/58, Newsletters. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lists: Fellows, Staff and Board of Trustees. Invoices, receipts and newspaper clippings. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Dinner schedule, agenda and pamphlet. Dates- 5/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Confirmation for Dinner event and agenda. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fall meeting to be held at VMFA, conference agenda, mailing list and pamphlets. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Meeting agendas, events schedules, attendance rosters, officers, newsletters, registration forms. Report of SEMC '72 meeting, \"SEMC Notes\", no. 1, 1974 and no.1, 1975. Dates- 1972 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- printed material for exhibition \"Southern Exposures\", the following essays: \"Coming of Age of Photography\", \"Down the First Century of Photography with George and Heutis Cook\", \"Concerning the Cook Collection and Its Recovery of the Epos of the Attic\", etc.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Williamsburg International Assembly Speakers, biographical data: Edward Downes, Charles Seymor, Harris Prior and Arthur Drexler. Dates- 1951 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Gaines. Subject- Biographical data of speakers: C.V. Donovan and Joseph Curtis Sloane. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- printed material for the opening for prospective members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safari Theatre Dinners, loan exhibition previews, maintenance. Dates- 1967 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Essay- \"The Art Museum As A Community Center\", by L. Cheek. Pamphlets, newspaper and magazine clippings of other museum programs. Date- 1961 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- early interest and planning of the exhibition \"Sport and the Horse\", etc. Dates- 5/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Frederick Robinson (Dir., SMFA). Subject- SMFA exhibition of Virginia Artists. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions, security, general operations and museum business. Employee policy, regulations, salaries, etc. Dates- 1962 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General Museum operation, exhibitions, publicity evaluation, landscaping of Confederate Chapel, loan exhibition previews. Dates- 1963 - 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Employee policy/regulations, programs division, collection divisions, staff information and table of organization for Theatre Arts Committee. Newspaper clippings and salaries. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Suggested structure of staff organization and salary scales. Dates- 2/54 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA By-Laws 1958 and 1959, income sources, proposed improved operations plan. Salary information from the Smithsonian Institution. Job description for Assistant Administrator. Date 1959 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Head of Collections Division and Education Supervisor, Program Division. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Business meeting and reception regarding architectural improvements, gifts and loans to the State Department reception rooms. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- reception for General Assembly Wives. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Service reports for loans of exhibits, films and slides. Dates- 1951-1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for information regarding circulating visual materials 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member requests for exhibitions 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member requests for exhibitions 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member Requests for gallery visits and lectures 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Out of state inquiries about Museum services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Out of state inquiries about Museum services 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of prospective organizations for using extension services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for circulating visual materials and exhibitions 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General Correspondence Traveling Exhibitions 1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains statement for addenda to the Governor's report concerning the VMFA.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Saul Steinberg. Subject- exhibition of Steinberg's work and lecture by Steinberg, etc. Dates- 8/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening of new auditorium, purchase of pianos and price lists. Program for the Chamber Music Society, newsletters from Steinway and Co. , 4/55-6/55. Dates- 4/55 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Philip N. Stern, Chairman of the Art Commission, Commonwealth of Virginia. Subject- Art Commission meetings, funds for museum equipment, funding from the Public Works Administration, architectural exhibition, etc. Dates- 7/35-10/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Steuben correspondence with the VMFA, 1938-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Ten Talents In the American Theatre\", Ed. David Stevens; \"Theatre For Art's Sake\" by L. Cheek. Proposal to the Rockefeller Foundation for financial support of VMT. Dates- 12/49 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Her gift of \"La Signora in Biege\", Lazzaro Donati. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, preliminary design program for South Wing Addition, letters to other museums regarding design, security and general building functions. Dates- 1948-49, 1962-63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Jas. N. Trevillian (Secretary). Subject- Conductor of the New York Philharmonic Orchestra, concert at the VMFA and program. Dates- 1947 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA and Gordon E. Strause, 1935-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Strause and various Museum staff. Subject- exhibition of his collection at the Museum, written complaints by Mr. Strause, Strause is named 1st honorary benefactor of the Museum by the Board of Trustees. Dates- 3/36-5/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J. G. Pollard, T. Colt and L. Cheek. Subject- Lewis S. Strauss, founder of the Albert Einstein Award (for achievement in Natural Sciences). Chairman of the Atomic Energy Commission, his service on the VMFA Finance and Membership committees. Letter of Henry Anderson regarding discussion with Paul Mellon and VMFA expansion potential. Newspaper and magazines clippings, Artmobile, gifts and contributions. Dates- 1945 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Fellows: theatre Orientation, general meetings, prospective Fellows, report of the Fellows 5/3/67. Date- 1965-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- As a Trustee and member of the development committee. Contributions. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Mr. William A. Stuart. Subject- Trustee/Museum business, etc. Dates- 7/51-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Julia Sully to the Museum. Subject- Virginia Art Index. Dates- 1935-48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and J. McGee (Sunrise, Pres.). Subject- \"Sunrise\", Charleston Cultural complex, budget analysis, roster of Executive Board, Annual Report, 1971, pamphlets. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt and L. Cheek. Subject- Early correspondence concerning museum services, statement of purpose, Pratt Bequest, exhibitions and requests for publications. Dates- 7/45 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General correspondence, request for publications, employment, Fellows, Russian Loan Bill, gifts, contributions, biographical data. Dates- 6/56 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Museum business, loans of art works, list of objects for long term loan, zoning ordinance. Paul Tishman Collection, Troubs Collection of Russian miniatures. Provenance of St. John the Baptist, Rodin. Pamphlets, brochures and press releases. Dates- 2/70 - 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. J.G. Pollard, M. Christison, John Canaday and Maurice Bonds. Subject- Informal discussion series on art, artists and technique. Topics: Lithography, sculpture, restoration, art history etc. Includes biographical data on lecturers and exhibitions. Excerpt from \"American Silversmiths and Their Marks II\", by Stephen G.C. Ensko. Dates- 9/48 - 3/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding Mrs. A.I. duPont's gift of tapestries to the VMFA and a subsequent exhibition, 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding taxes on honorariums, admissions and rental space, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA series of weekly TV programs, list of suggested topics, program guests, resource information from other Institutions, film rentals, television presentation of the 25th Anniversary and minutes of the Mayor's Committee on Educational Television, 11/11/53. Dates- 3/54 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- The development of a public television station to be shared by educational institutions. TV question and answer scripts and newspaper clippings. Dates- 1/49 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings. Dates- 1961-62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Salary scales, job openings at VMT, applicants, referrals, biographical data, financial statements, staff tors and guest speakers. Dates- 3/58 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Thalhimer. Subject- Biographical data, production, general theatre administration and Ford Foundation Fellowship Grant. Dates- 5/58 - 7/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Basil Langton. Subject- Langton's service as VMT guest director of \"The Tempest\", in celebration of the Jamestown Festival; program and procurement of professional actors. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Thalhimer Jr. Subject- Exhibit: \"Habiliments for Heroines\" underwritten by Thalhimers, VMT: \"Lady in the Dark\", Lorren Aldrich Collection. Catalogue: \"The Helena Rubenstein, Princess Gourelli Collection\", Deluca, Editore Roma, June 1953. Dates- 11/51 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as a Trustee and Chair of the Theatre Arts Committee on theatre and Television, museum business, salary scales, general operation of VMT, budget, income, newspaper clippings. Contributions and gifts. Dates- 6/52 - 3/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Underwriting of Mediterranean court, plants and flowers. Gift of Sandwich glass. Dates- 5/55 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Thayer's service as special assistant to the Secretary of State for Cultural Affairs. Biographical data, UNESCO, ICOM, International traveling Exhibitions, placement of American works of art in United States Embassies. Dates- 5/59 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committee Minutes 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committee minutes, agendas and programs, box office grosses etc. Letter from Paul Mellon. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Establishment of a theatre Collection by Louise Branch of drawings, scenery and costumes. Dates- 2/59 - 3/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Thalhimer. Subject- Proposal for costume ball. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Morale and general organization of the VMT Associates, proposed speakers, newsletter and roster of VMT Associates. Dates- 4/57 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and William Morrison. Subject- taped readings by Henry Fonda, Lee Remick and Olivia deHavilland on the anniversary celebration. Reviews and letters to other film stars. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safari-Dinner agenda and setup. Dates- 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reviews, gift of Dan River Mills fabrics for costumes. Programs: \"Streetcar Named Desire\", \"School For Wives\", \"Camelot\" and \"The Odd Couple\". Dates- 1967 - 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- reviews, letters of compliment. Program: \"the Royal Hunt of the Sun\" Dates- 1968 -69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and staff hours. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Report of Acoustical Analysis for Auditorium of Virginia Museum Theatre\" Dates- 9/1950 and 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Review, performance production. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Theatre-designer: salary and letters of recommendation. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMT, Dance, Film and Chamber Music Societies: financial statements, salaries, budgets, production costs, income records, purchase of stage equipment and suggested future of organization. Dates- 2/54 - 12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- bus tours from Virginia towns for Theatre evenings, sponsors by Virginia Federation of Women's Clubs, newspaper clippings. \"The Virginia Club Woman\", vol. XXXII no. I 8/55. Dates- 1/59 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chairman of Yale Drama Dept., his service as consultant to VMT, budget suggestions for proposed VMT, various drama activities, playbill, budgets from other University Drama departments. Dates- 1/56 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program, letters of disagreement between directors and actors. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The first annual event, critic and counselors: Virginia Freeman, Meriam Rosen, Dan Wagoner, Patricia Wityle. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Valerie Gettis as guest speaker/artist. Dates- 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Invitations to college Presidents. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Alan Schnieder, Speaker: Jo Mielziner. The 1st College Drama Festival, guest lists and exhibition of Jo Mielziner's theatre designs. Newsletter. Dates- 8/56 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Harold Clurman, Speaker: Norris Houghton. Events schedule and program. Dates- 4/57 - 2/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Norris Houghton, Speaker: John Gassner. Event agenda/program, brochures. Dates- 4/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Henry Hewes, Speaker: Marc Connelly, reception, production procedure, etc. Newsletter 2/60 Dates- 10/59 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Stella Adler and Speaker: Alfred de Ligre, Jr. Event schedule, festival speaker, program, biographical data, reviews. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Event agenda, scheduling, program and newspaper clippings. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Robert Lewis, Speaker: Edward Albee. Event agenda/program, brochure, pamphlet, etc. Dates- 10/56 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Original drama by John C. Collison, VMT Premiere. \"New Play in Virginia\", Wm. Morrison, Encore vol.6 ,no.5 Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and L. Cheek. Subject- Reorganization of Museum Theatre 1972-73, budget and summary of proposals. Additions to VMFA statutes and By-Laws. Theatre Committee annual Report 6/30/67. Dates- 5/67 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contributions, minutes of Theatre Patron Campaign Committee. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- theatre Arts Committee Executive Meeting minutes 6/30/70 and 7/6/70, Rosters for various Executive committee's of VMFA. Reviews and pamphlets. Dates- 9/69 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- HEW grant to produce and circulate throughout Virginia a play during 67-68 season, suggested dramas. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions: \"Gibson Collection of Contemporary Italian Art\", \"Contemporary Japanese Art\", \"Ten Reynolds Sculptures\". Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, A.H. Ballet and Robert Telford. Subject- General VMT business, schedule of events, scenic design, reviews, performance, staff policy/procedure, ticket prices, season subscriptions, etc. Dates- 1955 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- College Drama Festival, Dance Society and Chamber Music Society. Performance programs, events schedules, guest director contract, pamphlets and contributions. Dates- 1959 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- General Theatre Business, contractual agreements, events schedules, Richmond Film Society, College Drama Festival, financial statements, theatre reviews and job applicants. Dates- 5/61 - 9/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- theatre openings, job descriptions, applicants, hours. Dates- 12/62 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT, Vignettes tour, general estimate of costs, Drama, Dance and Music programs.  \"Virginia Report For State Arts Agency Individual Projects July 1, 1966- June 30,1967\" and \"Performing Arts in Virginia Education\" an introductory survey. Dates- 1966 -68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Budgets, financial summary, events schedules, newsletters, etc. Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Season events, programming, budget and revenue, newsletters, list of season subscribers and press kit for the Mummers Theatre, Oklahoma City, Oklahoma. \"Constitution of the Virginia Museum Theatre Associates\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Theatre business, budgets, salaries, production schedules, invitations, program design, contracts, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters to and from VMT subscribers, program for \"Purlie\". Proposals for summer season productions, opening night telegrams. Dates- 1974 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Operating expense appropriation, \"VMT Sound System Report\", and synopsis of No Title play of the life of Lord Byron by Romulus Linney (later titled \"Childe Byron\"). Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Reviews. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Keith Fowler. Subject- Reviews, production calendar and letters of compliments. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Event underwritten by the Weeden Foundation. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of invitation, remarks after preview. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Programs. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Payment for use of two geese. Program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Financial report and program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Program, reviews, letters of complaint from theatre patrons regarding play content. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program, search for guest director. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Review, program and editorials. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Letters of complaint and approval from theatre patrons. Dates- 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List of series underwriters, proposal for music lecture series conducted by Dr. John White. Dates- 10/58 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Patron financial support and proposal for a Sunday lecture series: \" The Eager Listener\". Dates- 9/59 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Harpist: Nicanor Zableta, brochures of concert series sponsored by other museums and galleries. Dates- 1/50 - 1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program Dates- 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Morton Thalhimer. Subject- General letters to theatre subscribers, brief outline of the five scheduled plays and descriptions of the major characters. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Playbills, magazine and newspaper clippings of performances in theatres other than VMT. Dates- 12/54 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews and programs for \"Separate Tables\", \"The Skin Of Your Teeth\", \"Ondine\", \"Kiss Me Kate\" and \"The Kids\". Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Rehearsal schedules, invitations, programs: \"Life With Mother\", \"The Limbo Kid\", \"Pygmalian\" and \"The Brothers Karamazov\". Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews, letter/telegrams of compliment. Programs: \"Teahouse of the August Moon\", \"The Woman from Colchis\", \"Hall of Mirrors\", \"Caesar and Cleopatra\" and \"The Most Happy Fella\". Dates- 1962 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reviews, letters and telegrams of compliment. Program: \"A Thousand Clowns\". Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Robert Telford. Subject- Reviews, letters/telegrams of compliment. Programs: \"The Admiral Crichton\", \"Hedda Gabler\". \"Tartuffe\" and \"No Time For Sergeants\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews, letters/telegrams of compliment. Programs: \"The Comedy of Errors\", \"The Visit\" and \"Fanny\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters/telegrams of compliment. Programs: \"Androcles and The Lion\", \"The Miracle Worker\". Contributions from Dan River Mills. Photographs. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Reviews, letters/telegrams of compliment, opening night gala, Safari Theatre/Dinners. Programs: \"The Glass Menagerie\", \"Once In A Lifetime\", \"Julius Caesar\", \"Blithe Spirit\" and \"Three Penny Opera\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Reviews and Letters/telegrams of compliment. Programs: \"Charley's Aunt\", \"The Sorrows of Frederick The Great\", \"Uncle Vanya\", \"Twelfth Night, On What You Will\" and \"the Man Who Lost the River\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Timetable, production schedules, Safari theatre Dinners, programs and reviews. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters to former subscribers seeking financial assistance for the upcoming season. Photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letter/telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- VMFA By- Laws 1972, Minutes of Theatre Arts Committee 10/21/71, agendas, budget and cost estimates. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Programming, policy for relations to the VMFA, contractual agreements, events schedules, promotion plans and financial statements, programs and brochures. Executive board meetings: 7/57, 11/57, 2/58, 4/58, 5/58. Dates- 4/56 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters and contributions from Chamber Music Society Patrons. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for the formation of the Dance Society, guest list, officers, policy regarding the Dance Society's relationship to the VMFA. Minutes of Executive Board, 5/11/56, 6/12/57, 7/57, 12/57. Receipt and attendance records, contributions, programs, pamphlets and guest performers. Dates- 5/56 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters and contributions from patrons of Dance Society. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Rockefeller grant to the museum to develop theatre and a program in drama, 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Kay Rockefeller. Subject- Traveling exhibition troupe for children's theatre: financial statement and invitations. Dates- 9/57 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program for \"Rossum's Universal Robots\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT designated seating area according to race, and letters of protest in support of Dr. Mary Elizabeth Johnson. Dates- 1/56 - 5/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letters/telegrams of compliment. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Robert Telford and Morton Thalhimer. Subject- Attendance records, publicity program and biographical data. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters and telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cost estimate, theatre needs and improvements. Date- 12/56 - 7/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sample survey, list of Chapter/Affiliate communities. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Morton Thalhimer and Robert Telford. Subject- Theatre Arts Committee agenda, VMT proposals for: director, administrator, production and apprentices. Date- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"The Gallows Man\", limited performance schedule, invitations. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Events program, list of composers represented. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cancelled, considered distasteful for VMT audience. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letters, telegrams of compliment. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- AAMD conference, theft of Roualt drawing from Toronto Gallery, requests for publications. Dates- 5/50 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains reports concerning slide sets and film strips distributed throughout the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fashion designer to lecture on fashion from 1752 to 1952 for the exhibition: \"Habiliments for Heroines\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- New York World's Fair, newspaper and magazine clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His election to VMFA Board, museum business. Dates- 5/51 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings of Governor Tuck. Dates- 12/49 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, Tunnard's expertise on city planning. Virginia Town Case Study Group: \"Problems of Planning in the Small Southern Town\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Severance of affiliation to the VMFA. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artist for VMFA Christmas card. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt and Wm. Gaines. Subject- Seminar to expose students and teachers to the function and operation of VMFA, agenda, program procedure, etc. Dates- 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Questionnaire from UCLA Graduate School of Management and the College of Fine Arts on the priorities related to the Arts, pamphlets. \"U.S. Information Agency-Its Task in World Affairs\". Date- 4/51 - 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Annual Meeting Minutes, travel authorization, organization news, pamphlets, general UNESCO business. Dates- 10/46 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Conference topic: Aid to South American Museums, project development, UNESCO Annual Report, Report of Program Committee. The Voice of America, Forum Lectures with transcript of by L. Cheek of \"The Art Museum As A Community Center\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for loans of slides from South American Museums for L. Cheek's presentation to Denver conference, list of South American Museums. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening of UDC new building. Resolution concerning accessibility to members of UDC, invitations. Dates- 6/57 - 12/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence, reports, minutes. Expansion of local service. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Charitable organizations that have received UGF monies and fund raising campaign. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The Air Force Memorial Center: statement of purpose, design, personnel requirements, building program, Minutes of U.S. Air Force Fine Art Committee 6/58 and 12/60, \"Proposal For The USAF Memorial Education Center\", travel vouchers and floor plan for the Academy Museum (Planetarium). Slides. Dates- 2/57-4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Edward R. Murrow as Director, merging of the People-to People Program (organization of museum professional) with the USIA. Newspaper clippings. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Forum Series\": International Broadcast, lecture series. Essay- \"the Art Museum As A Community Center\" by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- UNESCO Action to safeguard Nubian monuments due to the construction of the Aswan Dam. Roster of Honorary Committee, International Action Committee, United Arab Committee, Executive Board Minutes. Dates- 4/60 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Virginia State Employees U.S. Savings Bond campaign, handbook for canvassers, meeting agendas and progress reports. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Col. H.W. Fitzroy. Subject- Coordinating agency between institutions and other cultural, educational and scientific agencies in Virginia through a lecture series of visiting scholars. Dates- 9/54 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Bayly Art Museum and the McIntire School of Fine Arts at the University of Virginia. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Lecturers and AIV contributors, loans of objects, fellowships. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and T. Colt. Subject- UVA Museum loan of objects and lecture tours, fellowships. List of prints on loan to VMFA from Catesby estate and list of Lurcat Tapestries. Dates- 8/47 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Museum business, Artmobile, VMT, requests for loans, contributions and gifts. Reference to photos of ancient Greek sculpture, architecture and landscape views, invitations, pamphlets and postcards. Dates- 10/58 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains the schedules for staff vacations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Hans van Weeren-Griek, curator of Education at the VMFA. Dates- 1940-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Report regarding vandalism and misconduct: soaping of the fountains and damage to shrubs. Dates- 11/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Velz' service as VMFA Head of promotion, civilian and military experience record, newspaper clippings and Melchers Estate. Dates- 1949 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains general correspondence of Velz, Associate Director of VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Status of tax deduction, recommendations for event, invitations and dance card. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 9the Annual Viennese Ball sponsored by the Council: Ball Committee, agenda, decoration, invitations, etc. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- Virginia Art Alliance By-Laws, program and minutes of VAA meeting 1945, Report of the Trustees of Richmond Academy of Arts 1933, correspondence with other members of VAA, etc. Dates- 1933-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- program for annual meeting 1941, blank ballots labeled \"Board of Trustees Ballots\", statement of need for a state Supervisor of Fine Arts Education. Dates- 4/40-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- reports of activities of organization members 1942-3, correspondence with organization members-no annual meeting held this year due to World War II, etc. Dates- 3/43-5/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcement, agenda and program for annual meeting 1944, correspondence with organization members, election of officers/trustees, etc. Dates- 3/44-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting minutes ('49), listing and certification of delegates to VAA annual convention ('49), listing of the VAA Board of Trustees ('49), etc. Dates- 1948-49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes from meetings and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Miss Helen C. Rose (Virginia Art Alliance President). Subject- correspondence with member organizations, etc. Dates- 3/58-8/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- minutes of Trustees meeting and annual meeting 1959, roster of officers and Trustees, program for annual meeting 1960, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of Va. Art Alliance). Subject- announcement, replies agenda and program for annual meeting of (1936) the VAA Trustees, listing of organizational members to VAA, certification forms for delegates to the VAA annual convention (1936), etc. Dates- 5/35-5/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension VMFA, Secretary of VA. Art Alliance). Subject- announcements, program and report for VAA annual meeting 1937, resolution changing the organization of the VAA (consolidating its function with that of the VMFA), certification of delegates to VAA annual meeting 1937, etc. Dates- 4/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept., Secretary of VA, Art Alliance). Subject- VAA annual meeting announcement and program (1938), certification for delegates to VAA annual convention 1938, correspondence with member organizations about the reorganization of the VAA (consolidating its function with that of the VMFA), etc. Dates- 2/38-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance). Subject- announcements and program for VAA annual meeting 1939, certification of delegates to the VAA annual convention 1939, letter from Gayle to the State Board of Education supporting the appointment of a state supervisor of art, etc. Dates- 3/39-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1940, correspondence with member organizations, nomination of trustees, certification of delegates to annual convention 1940, etc. Dates- 3/39-5/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1941, report of the VAA 1940-1, listing of organization members, By-Laws of VAA 1934, correspondence with trustees, etc. Dates- 3/41-4/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- program for annual meeting 1942, roster of member organizations, reports from member organizations, Annual Report of the VAA 1941-2, listing of VAA lectures in 1941, Museum Bulletin (VMFA) vol.2, no.6, 1942etc. Dates- 3/42-4/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcements, program and minutes for annual meeting 1944, reports of member organizations 1944, certification of delegates to annual convention 1944, listing of Board resolutions during war time, roster of member organizations, etc. Dates- 4/44-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA Art Alliance). Subject- announcements, program and minutes for annual meeting 1945, roster of trustees and nominating committee, reports of member organizations, certification of delegates to annual convention 1945, etc. Dates- 3/45-2/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945, announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945,announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting program ('46 and'47) and minutes ('46), list of members ('47), certification of delegates to annual VAA convention ('47), Reports of art activities around the state, etc. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance)and M.B. Christison (Curator of Education). Subject- copies of 1947 resolution about art display areas in public buildings, minutes of annual meeting 1947, announcements and program for annual meeting 1948, roster of member organizations 1948, correspondence about securing guest speakers for VAA annual convention 1948, certification of delegates to annual convention 1949, etc. Dates- 7/45-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- membership roster ('48), list of trustees ('48), announcement, minutes and attendance to annual meeting ('48), summary of panel discussion about art education in Va. schools, statement of VAA purposes and objectives, etc. Dates- 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- minutes of the Virginia Art Alliance meeting ('47 and'48), Board meeting announcement and attendance, program of annual meeting ('48), list of suggested nominees to the VAA Board ('48), etc. Dates- 1947-8.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- annual reports of activities made by VAA members. Dates- 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual meeting 1955. Correspondence, resolutions and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence, minutes and agendas. Form letter announcing annual meeting 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes, agenda and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcement and minutes of Fall Meeting 1957, correspondence with member organizations, etc. Dates- 11/57-12/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Meeting held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1957, appointments to nominating committee, minutes of the Trustees meeting 1957, roster of organization members, The Annual Review of the Virginia Art Alliance 5/39,etc. Dates- 2/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and tentative reservation list for annual meeting 1958, etc. Dates- 9/58-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1958, reports of member organizations, Virginia Art Alliance By-Laws, proposed revisions to By-Laws, VAA procedures, appointments to committees and to board, etc. Dates- 1/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes from annual meeting 1959, member organization reports, roster of VA. Art Alliance officers and trustees, VAA By-Laws, etc. Dates- 5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison Assistant Director VMFA). Subject- announcement and schedule for annual meeting 1959, blank reservation forms for school artmobile visits, etc. Dates- 10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and program for annual meeting 1960, listing of nominating committee appointments, roster of officers and trustees, listing of delegates to annual meeting, etc. Dates- 3/60-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- reports from member organizations, etc. Dates- 1956-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of organizational members and their attendance, correspondence and form letters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of trustees and list of members 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of trustees' meeting 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of Trustees, 1952-55. Correspondence, minutes. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee correspondence, minutes and members. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard Subject- preliminary work for the VAA booklet: \"Facilities for Organization Members Comprising the Virginia Art Alliance\". Dates- 8/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Secretary Virginia Art Alliance). Subject- minutes of Virginia Art Alliance (VAA) annual meeting 1957, proposed revisions to By-Laws, etc. Dates- 8/56-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- outline of a state art federation, constitutions, by-laws, information on other art federations (i.e.: The American Federation of Art, The Kansas State Federation of Art, The Indiana Federation of Art Clubs, etc.), etc. Dates- 1/34. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Va. Art Alliance procedures and a short history, draft of proposed revisions to VAA By-Laws, Annual Review of the Virginia Art Alliance. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA/ Secretary of the VA Art Alliance). Subject- VAA By-Laws 1934, resolution (1936) to consolidate the functions of the VMFA and VAA, information about the development of a new type of VMFA annual membership- the organization membership, etc. Dates- 1934-10/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- listing of Trustees 1934- 39, Trustee meeting announcements, letters accepting election to the VAA Board of Trustees, etc. Dates- 11/34-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA representative on the Virginia Art Commission. Dates- 11/55 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- selecting and securing jurors for the exhibition \"Virginia Artists 1955\", listing of pieces and artist included in the exhibition, printed material for the exhibition, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Paul Smith, Rose Slivka and Frank Getlein. Salon des Refuse's, biographical data, exhibition catalog. Dates- 6/66 - 6/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Prospective jurors and exhibition announcement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Jurors: Thomas Hess. Exhibition statement, reception, guest list, members preview, program agenda, discontinuation of salon des refuse's, installation and exhibition catalog. Dates- 1967, 11/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding auditor's reports. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Audit Reports 1936-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Auditors Survey and Systems study of the VMFA. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Morrison. Subject- Filming of \"California Watercolors\" traveling exhibition with footage of Virginia Beach Sidewalk Show included in the 25th anniversary film. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospectus for the Virginia Center For the Performing Arts. Statement of purpose: Academy-Conservatoire of Dramatic Art with training center and professional theatre. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding objects and paintings in private collections throughout state of Virginia. Correspondence with artists and owners. 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Statement of mission, NEA grants, proposals, awards, potential applicants, recipients. Collectors' Circle: Arts and Humanities Challenge grants for Conservation projects. Degas exhibition. Dates- 2/74 - 6/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VCU and U of R Drama departments. VMFA/VCU Museum Methods Course. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Current/future cooperation between VCU and VMFA: theatre, Art Historical studies, education, museum training, music dept.'s, VCU Conservation Lab and Anderson Gallery. Dates- 1/73 - 2/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Paul Smith. Reception, guest list, program, agenda and exhibition catalog. Dates- 3/71 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Juror: Henry Wolf. Event program, invitations, guest list, statistics regarding entrants, certificate winners, etc. Exhibition catalogs for \"Virginia Designers\", 1970 and 1971; \"Virginia Photographers\", 1970 Date- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding state budget 1946-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VEA Centennial Event and retired teachers complex, theatre program and Executive Committee Minutes, 12/61. Dates- 10/63 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Retired teachers apartment complex proposed for the 2900 block of Grove Ave., later rejected by the City Council, newspaper clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Exhibition: \"American Rooms in Miniature\", sponsored by Va. Federation of Women's Clubs, sponsorship of statewide tour of Artmobile, newspaper clippings and pamphlets, \"Virginia Journal of Education\", 10/63, catalog of \"American Rooms in Miniature\" by Mrs. J.W. Thorne, Art Institute of Chicago, 1941. Dates- 6/53 - 2/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Virginia Federation of Women's Clubs Statewide Arts Festival. Dates- 5/67 - 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Thank you notes from newly elected/reelected members of the House of Delegates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. John. S. Battle. Dates- 1949-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. Colgate W. Darden. Dates- 1942-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. George C. Peery. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Bills vetoed and passed by Gov. Thomas B. Stanley [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. William M. Tuck. Dates-1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Multi-level Arts Festival held annually in Abingdon, Va., loans of art works, consultation on programming and pamphlets. Dates- 11/52 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, F. Numan (Wm. and Mary) Subject- Meeting to focus on Architecture and the Humanities. Dates- 11/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Catalog from Franklin Mint series of silver commemorative medals. Norton Simon summary of Annual report, 1970. Dates- 1970 -71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. J.G. Pollard was chairman of this agency; copies of: Fundamentals of a Growing Recreation Program by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agendas and minutes of meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns a Governor's commission to study juvenile delinquency and the Virginia Advisory Legislative Council. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report to the Committee on \"Recreation as a Function of Government in Virginia.\"   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- copies of the executive order creating the Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- planning a listing of recreation films available through state agencies and 16mm Recreation Films Available in Virginia published by the VA Inter-Agency Committee on Recreation, etc. Dates- 6/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- working papers and final copies of the \"1st Report to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 10/53-1/54; Correspondence Subject- copies of the \"First Report to the Governor by the Inter-Agency Committee on Recreation\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Selected legislation on recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership rosters for the VA Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- statewide recreation reports listing facilities, budgets, organizations and needs, pamphlets from the National Recreation Association, etc. Dates- 7/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sponsored by the National Recreation Association 1955-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains a listing of personnel and the purpose of the committee.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and pamphlets.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets, magazine articles etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of \"Fundamentals of a Growing Recreation Program\" by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- working papers for and final copies of the \"1st and 2nd Reports to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 11/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Sarah Tomerlin Lee, Biographical data, event program, pamphlets and catalog for exhibition. Dates- 9/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum events, rosters: Senate, House of Delegates. Letter to members of the general assembly. Essay- \"The Virginia Museum and the Arts in Virginia\". Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reception for organization composed of Mayors, City Managers and City Officials. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Faye Ambrose and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year. Dates- 5/56-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Charles E. Baker and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications and award letters (1950, 1951) for VMFA in-state fellowship, artist progress reports for 2 years, etc. Dates- 5/50-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Regina Bartley and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 4/51-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Wm. Thomas Bland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA fellowship, thank you notes made by Mr. Bland (mixed media including watercolors). Dates- 8/48-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Robert Brushwood and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations, award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Kuhn R. Caldwell and Mrs. J.G. Pollard, M.B. Christison (Assistant Director), and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, artist progress reports for 1 year . Dates- 12/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mary Frances Cheatham and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA junior fellowship, artist progress reports for 1 year. Dates- 1/49-3/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Janet Clausen and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Robert L. Davis and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA in-state fellowship, photos of artist's work, artist progress reports for 1 year, etc. Dates- 4/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Worden Day and Mrs. J.G. Pollard, M.B. Christison and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, etc. Dates-4/49-8/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. T.V. Downing, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 10/49-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Charles Flynn, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 4/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 2/54-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- award letter for VMFA in-state fellowship, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Barbara Harding and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications ('53 and '54), recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Catherine M. Hipp and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Jem W. Hom and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/56-7/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between W.B. Houghland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Caroline C. Huff and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. William W. Jackson and Mrs. J.G. Pollard and L. Cheek Jr. Subject- applications (1948,1949), recommendations and award letter for VMFA fellowship, etc. Dates- 5/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Knapp and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. James Leedy and Mrs. J.G. Pollard and M.B. Christison (Assistant Director). Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/57-6/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Brenda R. MacBaisey and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year (includes lithography proofs), etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. James P. Moyers and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Joe Ravenscroft and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, application and recommendations for VMFA fellowship, etc. Dates- 8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, recommendations for VMFA fellowship, etc. Dates-8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.F. Russell and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for out-of-state fellowship, artist progress report for 1 year, etc. Dates- 4/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between R.E. Spain and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Mary R. Tatum and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1year, etc. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Primm Turner and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress report for 1 year, application for Catherwood Foundation fellowship, etc. Dates- 3/56-9/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. E. Parker Twombly and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA out-of-state fellowship, recommendation letters written by: Ben Shahn and Robert Motherwell, artist progress report for 1 year, etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress report for 1 year, etc. Dates- 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Howard Woody and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for student fellowship, etc. Dates- 4/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Peter Wreden and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, etc. Dates- 4/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of fellowship applicants, requests for applications, rejection letters, etc. Dates- 3/49-6/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications, recommendations and rejection letters for those applicants not chosen to receive fellowships. Dates- 3/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship, fellowship announcement, minutes of the fellowship committee meeting (1954), etc. Dates- 12/40-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- listing of applicants 1942-44, listing of types of fellowships offered by the Museum, etc. Dates- 1942-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- various applications, recommendations, rejection letters, etc. Dates- 5/46-6/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- announcements of fellowships, blank fellowship applications, requests for applications, various completed applications, award and rejection letters for fellowships, artist reply letters, etc. Dates-4/46-12/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- various applications, recommendations, fellowship recipient progress reports, award and rejection letters, correspondence with Fellowship committee, etc. Dates- 4/47-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject-the organization of the Fellowship committee, requests for fellowship applications, etc. Dates- 9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. John L. Pratt. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship program, minutes of: annual board meeting (1941), executive committee meeting (1940), VA artists fellowship committee meeting (1940), announcement/application for VMFA fellowship, etc. Dates- 6/40-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence about the Museum. Dates- 1939-46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition- \"The Virginia Museum of Fine Arts in Roanoke\", 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Essays by Director Thomas Colt on the Principles and Work of the Virginia Museum of Fine arts and its history.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Timetable, agenda, invitation, guest list. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Henry Callahan, biographical data, entry form, letters to selected applicants, statistics: entrants vs. applicants etc., and jury procedure. Dates- 4/71-2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellowships, VPI Traveling Theatre. Letter to Josef Albers with biographical data, invitations and exhibitions. Dates- 3/59 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains pamphlets and correspondence between this association and Mrs. Pollard's Inter-agency committee on recreation 1949-54; Reports and Inventories of recreational activities of state agencies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- VMFA budget, state issue vehicles, Artmobile, salaries, Robinson House, etc. Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Complimentary memberships to members of the house of delegates, travel regulations, United Givers Fund campaign, management studies. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VSAA membership rosters, membership of confidential secretaries to directors of state agencies. Dates- 9/63 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- Memos to heads of state agencies regarding all manner of state operations, capital outlays. Annual Report of \"Virginia Department of Vocational Rehabilitation\", 1976. Dates- 1/73 - 10/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- Affirmative Action and Freedom of Information Act requests. \"Virginia Local and Regional Planning 1974\"; \"Virginia Commission Visually Handicapped Annual Report\", 1973-74; \"Virginia Highway Commission Annual Report\", 1973-74. Dates- 11/74 - 12/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- State governmental management, budget appropriation requests, Virginia calendar of events, newsletters, museum salaries and the Virginia Privacy Act of 1976. Dates- 4/75 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regards donating old exhibition materials 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Roster of VMFA Trustees, resume of progress in the Fine Arts of Virginia. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and E.M. Kates (VSIF). Subject- Planting of flower beds and maintenance of interior foliage, Elizabeth Kates Foundation. Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cleaning and treatment reports of portraits owned by the Virginia State Library and Archives. Also correspondence regarding the wartime protection of Virginia's cultural materials, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- outline of annual meeting. Dates- 11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- \"Planning Your Town\" traveling exhibition, photos and description of exhibition installation, copy of an essay written by Cheek for Art Digest (4/52) Dates- 2/52-10/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VA Union choir singing at the Museum during the Christmas season, pamphlets about Museum sponsored activities during the holidays, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statewide competition for the design of Memorial and jury selection. L. Cheek's service as advisor to the Memorial Commission. T.J. Collins and Son as winners of competition. \"Program Of Competition For The Virginia World War II Memorial\". Dates- 12/50 - 3/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Program Of Competition For The Virginia World War II Memorial\", firms invited to compete in the final selection, expenses incurred and resumes of applicants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, John J. Wicker Jr. (Chairman). Subject- Competition program, VWW II Memorial Commission meeting minutes, \"Preamble\", for the creation of the memorial, \"Architectural Competitions\", AIA Document no.213. Drawings/plans and photographs for site development. Dates- 5/50 - 12/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 1953 Official Report of the Virginia World War II Memorial Commission. Dates- 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Competition program and closing proceedings. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Applications from selected entrants, official report of the jury in their selection of J.T. Collins and Son, (A.I.A.). Dates- 3/51 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report of the Jury concerning the winning design. Jury members: Waldon Franklin, George Howe, Frederick C. Disque, Edward D. Stone, W. S. Robertson, biographical data included and list of competition entrants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Guest lecturers, membership. Dates- 12/63 - 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. von Keller. Subject- appointment of von Keller as Acting Director of VMFA in absence of Colt, biographical information, etc. Dates- 4/35-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. von Keller (Art Director, Randolph-Macon Woman's College). Subject- personal, Museum events, etc. Dates- 8/42-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Vose. Subject- Acquisitions and provenance of objects. Dates- 7/56 - 2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt. Priscilla Crum and L. Cheek. Subject- Segregation in children's art classes, Study of early 19th century architect and builder John Jordan. WRVA Radio weekly series of VMFA activities, Salon des Refuses' for artists eliminated from the Virginia Artists juried exhibition. World War II Memorial design competition, Artmobile, newspaper clippings, paintings from the Williams Collection and the Helena Woolworth McCann Collection of Export Collection. Exhibition catalog: \"Eugene Wiesz\". Photographs. Dates- 9/45 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Artmobile, AIV, sit-see chairs, collectors circle, Fellows, Wise Pre-Columbian Collection, requests for employment. Woodrow Wilson Birthplace Foundation: Annual Report 10/64. Gifts, loans, contributions and acquisitions. Dates- 3/60 -11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Exhibition announcements, invitations, newsletters, biographical data, requests for employment. Purchases, gifts and acquisitions. Damage report of art works. \"Profile\", re: Tishman Collection of African Objects. \"Hermes Wingraf Quarterly Catalog\", Summer 1971, re: 17th century Dutch still-lifes. Dates- 2/70 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Waddy bequest for fountain construction. Costs of construction and maintenance of fountains: National Gallery, Frick Collection and Isabella Stewart Gardner Museum, includes photographs. Blueprints/plans: VMFA Site Development, East Elevations. Excerpt from the will of Woodson P. Waddy. Dates- 1947, 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Bronze Waddy Memorial Fountains, architects: Eggers and Higgins, Sculptor: Ralph Menconi. Contractual agreement with architects, Blueprints/ plans, detail drawings for : Waddy Memorial Fountain, Triton Fountain, East elevation and site development plans. Dates- 8/53 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Mr. Clifford L. Walker. Subject- inscribed plates for paintings in Museum collection, bronze busts and tablets for founders. Dates- 11/35-8/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Walpole Society Dinner, membership roster and newspaper clippings. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA staff orders for conduct of Museum during an emergency, pamphlets from the U.S. Government, Association of Art Museum Directors and American and British museums about art preservation in case of a wartime emergency. Dates- 1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Warburg Collection on loan to VMFA and his address to collector's circle. Bulletin vol.18 no.9 5/58 Dates- 5/57 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT scenery design. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets from the U.S. Government, Association of Art Directors and American and British museums about art preservation in case of a wartime emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- prospective sale of George Washington portrait by Peale to the state of Virginia, history of the painting, may have been commissioned by the state in 1784 for use by Houdin (the sculptor of the George Washington statue in the capital). Dates- 10/37-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Marion Junkin. Subject- Metropolitan Collection on permanent loan to W\u0026L, letter from M. Junkin espousing the talents/commitments of the young artist Cy Twombly. Hans Gasman as restorer for VMFA lists of objects and exhibitions. Dates- 11/49 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Alexander W. Weddell. Subject- Weddell's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, gifts from Weddell, listing of Trustees 1942, listing of Trustees committee assignments 1945. Dates- 9/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and Mrs. J.G. Pollard. Subject- Founding member of VMFA, resolution from Executive Board in memoriam of Alexander Wilbourne and Virginia Chase Weddell. Award of the Webster S. Rhoads Medal for distinguished service. Minutes of Annual Meeting, descent and authenticity of a pair of copies of portraits of George Mason and his wife. Dates- 7/45 - 1/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Foundation financial support: VMT, library, contributions to Fellows fund, book purchases, VMFA services catalog. Dates- 7/66 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Director of Gallery of Modern Art, NYC, and his service as a juror. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Time\" article on George Catlin, artist of the American West. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Mellon. Subject- Ultimate destination of Mellon English Collection. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Tour request. Dates- 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Mrs. J. H. Parsons. Subject- Wheelchairs adapted for sit-see chairs and underwritten by Mrs. Parsons. Dates- 10/65 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture/recital to VMFA council and Fellows. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitation to L. Cheek by President Johnson to attend luncheon for President-elect Barrentos of Bolivia. Dates- 7/20/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Objects on loan to White House. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Theo B. White. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Diorama's made by Whitelaw in the collection of the L.A. County Museum and George Washington Masonic National Memorial Association. Photographs Dates- 7/62 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- general correspondence with a Trustee on Museum programs and operating activities (esp. Accessions Committee). Dates- 6/35-3/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Beatrice von Keller, T. Colt and L. Cheek. Subject- Organization of an exhibition of pre-Columbian sculpture, Catesby-Jones collection, Whitman Collection of Mayan Sculpture, Chrysler Collection accessions and exhibitions. Date- 8/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. Thelma Cudlipp Whitman. Subject- Trustee/Museum business, etc. Dates- 5/51-2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Ambassador to Great Britain, invitation to become Collector-of-the- Year. Dates- 5/61 - 7/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and various Whitney Museum staff. Subject- loans to the Museum for the inaugural exhibition, loan to the Whitney from VMFA, museum practices, etc. Dates- 5/35-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Summer state service projects, VMFA projects list. Dates- 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Playwright, invitation to address VMT, Time Cover 11/12/53. Dates- 1/53 - 3/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA appointment to Board of Trustees, service as President and on the Entertainment Committee. Museum business, South Wing, Fellows, NEFTA. Gift of Mellon French painting collection, gifts, contributions. Dates- 6/65 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions: \"Jean Outland Chrysler Collection\" and \"30 Years of Virginia Art\". List of objects, Charter Day ceremonies: invitation list and dedication of the new Fine Arts building. Essays- \"Thomas Jefferson and the Fine Arts\" and \"The Arts in Virginia\", by L. Cheek 2/67. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT and loans of objects to VMFA. Dates- 1/50 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. J.G. Pollard. Subject- Williams Collection inventory, Williams purchase fund, statement concerning the informal agreement between L. Cheek and Mrs. A. D. Williams concerning installation of collection in the new wing. Selected inventory of furnishings in the Williams home. A.D. Williams as recipient of the Rhoads Medal, financial contributions, gifts and loans. Dates- 6/48 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Berkley Williams Jr., Virginia artist. Dates- 1936-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., and Mr. E. Rand Williams. Subject- Trustee/Museum business, Rand served as Buildings and Grounds Committee Chairman 1937-8 and as first Vice-President in 1941, etc. Dates- 6/35-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. E. Randolph Williams. Subject- Trustee/ Museum business, etc. Dates- 5/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Glasglow bequest, Melchers Estate, Pratt Jewels, Portrait of \"James Patton Preston\", Gilbert Stuart, general legal questions. Dates- 10/58 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Election to board of Trustees; Dance Society. Dates- 6/54 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Advisory committee on the new Reception Center, L. Cheek as a member and a map with the proposed location. \"Summary of Reception Center Objectives and Experience\". Dates- 11/53-1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List of objects accepted as loans and pending gift status. Dates- 10/49 - 3/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Preliminary plans for a foundation to house objects related to W. Wilson's life. Portrait exhibition of the 8 Virginia born Presidents, portrait of Mrs. Wilson, artist unknown. \"Woodrow Wilson's Heritage of Faith\", Frank Bell Lewis, Woodrow Wilson Birthplace Foundation, 1956. Dates- 9/55 - 6/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of request and approval for event, agendas and timetable. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letter of confirmation. Dates- 7/11 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Woodlawn Plantation event, guest list and map. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. to Worcester Art Museum staff. Subject- loans for VMFA inaugural exhibition, loan to Worcester Art Museum, etc. Dates-8/35-7/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- exhibition held at the Museum \"Southern States Preview\" a regional exhibition connected to the World's Fair. Dates-10/38-12/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by applicants to exhibition. Subject- listings of artists accepted to the show (listed state by state). Dates- 12/38-1/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Arthur Drexler (MOMA) to lecture on Wright exhibition, reception, guest list. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Transcript of radio broadcast 2/26/54, exhibition: \"American Painting\", Artmobile and magazine excerpt. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Betsy Wyeth and Harry Brooks (Knoedlers). Subject- \"Country\": Working drawings, Artmobile layout and tour and reviews. Dates- 2/67 - 11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Exhibitions, loans, acquisitions, AIV, gifts, contributions. Correspondence with William Zorach, sculptor. Dates- 9/49 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- museum practices, loans for the VMFA inaugural exhibition, etc. Dates-9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General correspondence from Alumni, possible lecturers, newspaper clippings. Correspondence between Cheek and Alfred Stiegletz. Minutes of Alumni and Friends of the School of Art and Architecture, 5/58, pamphlets. Dates- 6/58 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Third Report Of The Committee On Architecture, Painting and Sculpture\", 4/50. Committee membership roster, issues facing various Yale departments. \"Bulletin Of Yale University\", series 44, 4/48 #5 and \"Official Register Of Harvard University\", vol. XLV, no.15 7/15/48. Dates- 1949 - 50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. Pollard and M. Christison. Subject- Yale school of the arts general operation, appointment of Joseph Albers, list of University Council Committees. Dates- 9/48 - 9/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Draft of the committee report and responses from other Yale committee members regarding departmental personnel, curriculum, problems and resolutions. \"Report Of The Committee Of The Division Of The Arts (Architecture and Planning And Design)\",prepared by L. Cheek, 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Report Of The Chairman Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 4/48, prepared by L. Cheek. Issues concerning Yale departments of the arts. Minutes of Yale Executive Committee Meetings, various reports on Yale departments. Dates- 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cheek draft of, \"Report Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 1952. Yale policy review, new appointments, letters to other committee members, roster of membership. Dates- 5/51 - 4/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Evolving challenges of the various Yale departments. \"Report Of The Committee On The Division Of The Arts (Architecture, Planning and Design)\", 4/53. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA performance of Yale Glee Club, agenda, program, roster, etc. Dates- 10/60 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","R. Peter Mooz was Director of the museum from 1976-1981.","Charles L. Reed was Interim Director of the museum from 1981-1984.","Paul N. Perrot was Director of the museum from 1984-1991.","Katherine R. Lee was Director of the museum from 1991-2000.","Richard B. Woodward was Interim Director of the museum in 2000.","Michael Brand was Director of the museum from 2000-2005.","Thomas N. Allen was Interim Director of the museum in 2006.","This series contains correspondence and subject files from staff members in the Director's Office.","Carolyn Weekley was the Assistant to the Director from 1978-1979. She later became Curator of Decorative Arts, so there is some overlap in the files with her curatorial work.","Margaret (Peggy) Burke was Assistant to the Director from 1980-1981, then Deputy Director in 1982, Deputy Director. She originally served as Assistant Director for Collections and Interpretation, so there is some overlap in the files with her other work.","Lulan Yu was Assistant to the Director from 2002-2007. Her files are mostly related to the North Wing expansion and the museum identity project.","Lee Anne Hurt Chesterfield was Assistant to the Director from 2004-2009, then became Director of Board Relations and Museum Planning. Her files are mostly related to special projects, exhibitions, and AAM reaccreditation.","This series consists of building files that were maintained separately in the Director's Office. There are often additional building files found in each Director's Correspondence files.","The West Wing was completed in 1985.","The North Wing expansion was completed in 2010.","This series consists of corespondence with internal and external groups, the affiliations or creations of which often often overlap different Directors.","This series consists of minutes and planning documents for meetings convened by the Director.","This series consists of program files that were maintained separately in the Director's Office. There are often additional program and exhibition files found in each Director's Correspondence files."],"separatedmaterial_html_tesm":["\u003cp\u003eMedal awarded to Walter Spencer Robertson housed separately.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Medal awarded to Walter Spencer Robertson housed separately."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"names_ssim":["Virginia Museum of Fine Arts Archives"],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English \n.    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VMFA Archives, Richmond, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e47.20.18, 47.20.8\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["47.20.18, 47.20.8"],"scopecontent_html_tesm":["\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Transcription: \n[In process]"],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#1/components#0/components#0/components#4","timestamp":"2026-05-21T03:30:55.910Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_8","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_8.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/8","title_filing_ssi":"Pratt, Lillian Thomas (SC-07)","title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"unitdate_ssm":["1901-1947"],"unitdate_inclusive_ssm":["1901-1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-07","/repositories/2/resources/8"],"text":["SC-07","/repositories/2/resources/8","Lillian Thomas Pratt Personal Papers (SC-07)","Art objects, Russian","Easter eggs","Fabergé eggs","The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . ","The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated","The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.","47.20.412, 47.20.333, 47.20.312","47.20.14, 47.20.284, 47.20.338","47.20.30, 47.20.26, 47.20.28, 47.20.214, 47.20.341, 47.20.363, 47.20.404, 47.20.309","47.20.167, 47.20.72, 47.20.287, 47.20.166, 47.20.346, 47.20.296, 47.20.90, 47.20.95, 47.20.420, 47.20.421, 47.20.85, 47.20.94, 47.20.77, 47.20.74, 47.20.78, 47.20.75, 47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62, 47.20.84, 47.20.86, 47.20.82, 47.20.91, 47.20.87, 47.20.115, 47.20.63, 47.20.83, 47.20.54, 47.20.88, 47.20.130, 47.20.93, 47.20.59, 47.20.56, 47.20.58, 47.20.92, 47.20.96","47.20.4, 47.20.71, 47.20.81, 47.20.70, 47.20.55, 47.20.80, 47.20.76, 47.20.332, 47.20.336, 47.20.397, 47.20.140, 47.20.342, 47.20.281, 47.20.304, 47.20.157","47.20.416, 47.20.349, 47.20.317, 47.20.197","47.20.314, 47.20.313, 47.20.322, 47.20.290, 47.20.251, 47.20.12, 47.20.319, 47.20.184, 47.20.169, 47.20.358, 47.20.350, 47.20.183, 47.20.187, 47.20.141, 47.20.162, 47.20.417, 47.20.329","47.20.173, 47.20.195","47.20.173, 47.20.195","47.20.31, 47.20.291, 47.20.193, 47.20.275, 47.20.181, 47.20.164, 47.20.168, 47.20.27, 47.20.182, 47.20.177, 47.20.196, 47.20.396, 47.20.315, 47.20.337, 47.20.413, 47.20.320","47.20.263, 47.20.353","47.20.310, 47.20.339, 47.20.19, 47.20.282, 47.20.286, 47.20.45, 47.20.348, 47.20.142, 47.20.143, 47.20.128, 47.20.185, 47.20.190, 47.20.180, 47.20.276, 47.20.127","47.20.255, 47.20.294, 47.20.314, 47.20.356, 47.20.414, 47.20.299, 47.20.210,","47.20.22, 47.20.13, 47.20.151, 47.20.279, 47.20.191, 47.20.252, 47.20.7, 47.20.21","47.20.51, 47.20.64, 47.20.493, 47.20.52, 47.20.126, 47.20.278, 47.20.208","47.20.29, 47.20.17","47.20.221, 47.20.265, 47.20.308","47.20.240, 47.20.257, 47.20.256","47.20.306","47.20.292, 47.20.288, 47.20.267","47.20.259, 47.20.311, 47.20.138","47.20.20, 47.20.297, 47.20.351, 47.20.163, 47.20.144, 47.20.220","47.20.215, 47.20.394","47.20.374, 47.20.216, 47.20.110, 47.20.136, 47.20.113, 47.20.118, 47.20.112, 47.20.122, 47.20.119, 47.20.114, 27.40.120, 47.20.125, 47.20.121, 47.20.117","47.20.374, 47.20.216, 47.20.110, 47.20.136, 47.20.113, 47.20.118, 47.20.112, 47.20.122, 47.20.119, 47.20.114, 27.40.120, 47.20.125, 47.20.121, 47.20.117","47.20.131","47.20.13","47.20.33","47.20.33","47.20.248, 47.20.249, 47.20.132, 47.20.30, 47.20.403, 47.20.402","47.20.373","47.20.209, 47.20.334, 47.20.318, 47.20.102, 47.20.100, 47.20.101","47.20.343, 47.20.344, 47.20.340, 47.20.46, 47.20.148","47.20.495, 47.20.273","47.20.233, 47.20.395","47.20.16","47.20.13","47.20.154, 47.20.205","47.20.379","47.20.383","47.20.310","47.20.339","47.20.19","47.20.282","47.20.286","47.20.45","47.20.284","47.20.312","47.20.338","47.20.333","47.20.412","47.20.14","47.20.13","47.20.177","47.20.196","47.20.168","47.20.181","47.20.193","47.20.164","47.20.182","47.20.169","47.20.27","47.20.275","47.20.291","47.20.320","47.20.337","47.20.413","47.20.31","47.20.315","47.20.396","47.20.348","47.20.142","47.20.143","47.20.128","47.20.279","47.20.185","47.20.190","47.20.180","47.20.276","47.20.127","47.20.131","47.20.167","47.20.139","47.20.312","47.20.312","47.20.333","47.20.412","47.20.39","47.20.14","47.20.284","47.20.338","47.20.30","47.20.26","47.20.28","47.20.214","47.20.404","47.20.386","47.20.145","47.20.287","47.20.72","47.20.166","47.20.346","47.20.296","47.20.90","47.20.37","47.20.95, 47.20.85, 47.20.94, 47.20.77, 47.20.59","47.20.74, 47.20.78, 47.20.75, 47.20.63, 47.20.83","47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62","47.20.84, 47.20.86, 47.20.82, 47.20.91, 47.20.87","47.20.115, 47.20.130, 47.20.93, 47.20.56, 47.20.58","47.20.54, 47.20.88, 47.20.92, 47.20.96","47.20.4","47.20.397","47.20.336","47.20.342","47.20.332","47.20.71","47.20.80, 47.20.76","47.20.81, 47.20.70, 47.20.55","47.20.140","47.20.281","47.20.304","47.20.157","47.20.16","47.20.349","47.20.12","47.20.416","47.20.317","47.20.197","47.20.322","47.20.290","47.20.314","47.20.313","47.20.42","47.20.251","47.20.187","47.20.184","47.20.169","47.20.183","47.20.329","47.20.319","47.20.350","47.20.358","47.20.162","47.20.141","47.20.417","47.20.205","47.20.154","47.20.173","47.20.173","47.20.195","47.20.195","47.20.31","47.20.193","47.20.291","47.20.177","47.20.196","47.20.168","47.20.181","47.20.164","47.20.182","47.20.27","47.20.275","47.20.13","47.20.52","47.20.320","47.20.337","47.20.413","47.20.51, 47.20.493, 47.20.64","47.20.315","47.20.396","47.20.126","47.20.208a-b","47.20.278","47.20.353","47.20.263","47.20.348","47.20.142","47.20.143","47.20.128","47.20.185","47.20.190","47.20.180","47.20.276","47.20.127","47.20.310","47.20.339","47.20.19","47.20.282","47.20.286","47.20.45","47.20.13","47.20.151","47.20.279","47.20.7","47.20.21","47.20.191","47.20.252","47.20.22","47.20.29","47.20.17","47.20.233","47.20.395","47.20.341, 47.20.363","47.20.176","47.20.420, 47.20.421","47.20.20","47.20.340","47.20.418","47.20.33","47.20.255","47.20.294a-b","47.20.314","47.20.138","47.20.356, 47.20.414","47.20.163","47.20.248, 47.20.249","47.20.350","47.20.299","47.20.210","47.20.297","47.20.97?","47.20.144","47.20.221","47.20.220","47.20.240","47.20.257","47.20.267","47.20.256","47.20.265","47.20.379","47.20.308","47.20.311","47.20.374","47.20.259","47.20.216","47.20.110, 47.20.136","47.20.119, 47.20.114, 47.20.120, 47.20.125","47.20.113, 47.20.118, 47.20.112, 47.20.122","47.20.121, 47.20.117","47.20.288","47.20.292","47.20.383.1-6","47.20.343","47.20.273","47.20.46, 47.20.148","47.20.495","47.20.344","47.20.394","47.20.215","47.20.209","47.20.373","47.20.131","47.20.334","47.20.102","47.20.100","47.20.101","47.20.318","47.20.132, 47.20.30, 47.20.403, 47.20.402","47.20.306","47.20.351","47.20.270","47.20.18, 47.20.8","47.20.323","47.20.345","47.20.10","47.20.18","47.20.419","47.20.355","47.20.392","47.20.40","47.20.357","47.20.8","47.20.384","47.20.9","47.20.427","47.20.382","47.20.419","47.20.1","47.20.2","47.20.2","47.20.11","47.20.391","47.20.389","47.20.393","47.20.378","47.20.25,47.20.419, 47.20.10, 47.20.11","47.20.392","47.20.398","47.20.381","47.20.419","47.20.355","47.20.391","47.20.9a","47.20.384.1-13","47.20.378","47.20.427","47.20.382","47.20.18","47.20.8","47.20.409","47.20.398","47.20.405","47.20.357","47.20.392","47.20.390","47.20.388.1, 47.20.388.2","47.20.36","47.20.389","47.20.393","47.20.393","47.20.387","47.20.3","47.20.425","47.20.303, 47.20.367","47.20.426","47.20.146","47.20.5","47.20.6","47.20.40","47.20.345","47.20.222","47.20.213","47.20.69","47.20.137","47.20.272","47.20.38","47.20.179","47.20.277a-b","47.20.330","47.20.326","47.20.53","47.20.305","47.20.323","47.20.376.1-42","47.20.271","47.20.269","47.20.244","47.20.268","47.20.152","47.20.15","47.20.165","47.20.327","47.20.328","47.20.41","47.20.293","47.20.47","47.20.48","47.20.49","47.20.50","47.20.65","47.20.66","47.20.67","47.20.68","47.20.98","47.20.250","47.20.161","47.20.325","47.20.227","47.20.235","47.20.231","47.20.211","47.20.207","47.20.202","47.20.324","47.20.228","47.20.241, 47.20.242","47.20.170","47.20.203","47.20.225","47.20.217","47.20.218","47.20.221","47.20.224","47.20.230","47.20.229","47.20.232","47.20.261","47.20.260","47.20.155","47.20.60","47.20.171","47.20.239","47.20.244","47.20.247","47.20.262","47.20.266","47.20.300","47.20.133","47.20.134","47.20.289","47.20.57","47.20.99","47.20.111","47.20.116","47.20.123","47.20.124","47.20.385","47.20.301","47.20.156","47.20.172","47.20.186","47.20.246","47.20.199","47.20.198","47.20.178","47.20.285","47.20.309","47.20.234","47.20.226","47.20.223","47.20.220","47.20.219","47.20.212","47.20.245","47.20.109","47.20.43","47.20.238","47.20.103","47.20.108","47.20.354","47.20.375","47.20.335","47.20.331","47.20.321","47.20.298","47.20.254","47.20.105","47.20.104","47.20.106","47.20.107","47.20.135","47.20.359, 47.20.365","47.20.35","42.19.1","47.20.1, 47.20.2","47.20.11","47.20.25","47.20.10","47.20.419","47.20.32","47.20.32","47.20.32","47.20.32","47.20.32","47.20.357","47.20.409","47.20.303, 47.20.367","47.20.387","47.20.3","47.20.425","47.20.34","47.20.34","47.20.36, 47.20.32, 47.20.34","47.20.17","47.20.17","47.20.17","47.20.348","47.20.21","47.20.21","47.20.176","47.20.36","47.20.32","11061-1, 47.20.33, 47.20.34","11912-2, 47.20.34, 47.20.35, 47.20.32","11912-3, 47.20.34, 47.20.44, 47.20.148","1651, 47.20.235, 47.20.217, 47.20.222","4471, 47.20.214","490M, 47.20.32, 47.20.33","490M-6, 47.20.32","491M-19, 47.20.36, 47.20.231","491M-29, 47.20.148, 47.20.46","544M, 47.20.222, 47.20.217","7852M-10, 47.20.126","7852M-12, 47.20.34, 47.20.17, 47.20.18","7853M-4, 47.20.34, 47.20.32, 47.20.148, 47.20.46","The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","English \n.    "],"unitid_tesim":["SC-07","/repositories/2/resources/8"],"normalized_title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray"],"creator_corpname_ssim":["Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creators_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art objects, Russian","Easter eggs","Fabergé eggs"],"access_subjects_ssm":["Art objects, Russian","Easter eggs","Fabergé eggs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"extent_tesim":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"physfacet_tesim":["723 items"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e\n","\u003cp\u003eDigitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/lillian-thomas-pratt-personal-papers-sc-07/\"\u003eVMFA Collections Search website\u003c/a\u003e. \u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . "],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSchaffer Collection, 1934-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHammer Galleries, 1933-1945, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eEstate, 1932-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eClippings, 1932-1937, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMuseum Records, 1936-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated"],"bibliography_html_tesm":["\u003cbibref\u003eThe Fall of the Romanoffs: How the Ex-Empress \u0026amp; Rasputine Caused the Russian Revolution, 1917\u003c/bibref\u003e","\u003cbibref\u003eConfessions of the Czarina, 1918\u003c/bibref\u003e","\u003cbibref\u003eMother Dear: The Empress Marie of Russia and Her Times, 1926\u003c/bibref\u003e","\u003cbibref\u003eThe Tragic Bride: The Story of the Empress Alexandra of Russia, 1927\u003c/bibref\u003e","\u003cbibref\u003eThe Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Intimate Life of the Last Tzarina, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931\u003c/bibref\u003e","\u003cbibref\u003eRussia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931\u003c/bibref\u003e","\u003cbibref\u003eEducation of a Princess: A Memoir, 1931\u003c/bibref\u003e","\u003cbibref\u003eA Princess in Exile, 1932\u003c/bibref\u003e","\u003cbibref\u003eTwice Seven, 1937\u003c/bibref\u003e","\u003cbibref\u003eRussian Imperial Treasures: Collection of Lillian T. Pratt, undated\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940\u003c/bibref\u003e","\u003cbibref\u003eHandbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960\u003c/bibref\u003e","\u003cbibref\u003eFabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976\u003c/bibref\u003e","\u003cbibref\u003eFabergé: Virginia Museum of Fine Arts, 1995\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed: At the Virginia Museum of Fine Arts, 2011\u003c/bibref\u003e","\u003cbibref\u003eLillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996\u003c/bibref\u003e","\u003cbibref\u003eSelections from the Lillian Thomas Pratt Collection of Jewels, 1947\u003c/bibref\u003e","\u003cbibref\u003e12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1949\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1950\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1951\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1952\u003c/bibref\u003e","\u003cbibref\u003eJewelry by Fabergé, 1953\u003c/bibref\u003e","\u003cbibref\u003eJewels by Fabergé, 1954\u003c/bibref\u003e","\u003cbibref\u003eFabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed, 2011\u003c/bibref\u003e","\u003cbibref\u003eVMFA Collections: Decorative Arts: Metalwork: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVMFA Donors: Pratt, John Lee and Lillian Thomas\u003c/bibref\u003e","\u003cbibref\u003eVMFA Gallery Design: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pratt's Personal Library","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Video","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia"],"bibliography_tesim":["The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)"],"bioghist_html_tesm":["\u003cp\u003eTwo months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.\u003c/p\u003e\n","\u003cp\u003ePratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=6519%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER\"\u003eFabergé: Virginia Museum of Fine 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Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. 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Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eWide World Photos, Inc. (NY-33541), Copyright 1937.\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","Ge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Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities."],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives."],"processinfo_html_tesm":["\u003cp\u003eA large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. 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The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: 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Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. "],"abstract_html_tesm":["\u003cabstract id=\"aspace_fb5f9a7488efeca094913bc14bf01383\"\u003eThe collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer."],"names_coll_ssim":["Fabergé (Firm)","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections"],"names_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"language_ssim":["English \n.    "],"total_component_count_is":762,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:30:55.910Z","scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.\u003c/p\u003e\n","\u003cp\u003eThe invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. \u003c/p\u003e\n","\u003cp\u003eI have received your note and also the book, and am sorry that you have had this unpleasantness.\u003c/p\u003e\n","\u003cp\u003eI hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, \u003c/p\u003e\n","\u003cp\u003eYours very sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.\u003c/p\u003e\n","\u003cp\u003eI will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.\u003c/p\u003e\n","\u003cp\u003eOr maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.\u003c/p\u003e\n","\u003cp\u003eI am sorry you had to be annoyed paying\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethe freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.\u003c/p\u003e\n","\u003cp\u003eWith best wishes and kindest regards, in which Mrs. Schaffer joins me, I am\u003c/p\u003e\n","\u003cp\u003eYours most sincerely, \nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. \u003c/p\u003e\n","\u003cp\u003eSorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.\u003c/p\u003e\n","\u003cp\u003eI have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. \u003c/p\u003e\n","\u003cp\u003eOn second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see \u003c/p\u003e\n","\u003cp\u003e(over please)\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003eyour things, and at the same time I could measure the egg.\u003c/p\u003e\n","\u003cp\u003eI think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. \u003c/p\u003e\n","\u003cp\u003eThe heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. \u003c/p\u003e\n","\u003cp\u003eHoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexanders S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eJust a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. \u003c/p\u003e\n","\u003cp\u003eSo far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.\u003c/p\u003e\n","\u003cp\u003eBelieve it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. \u003c/p\u003e\n","\u003cp\u003eI would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. \u003c/p\u003e\n","\u003cp\u003eRegarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. \u003c/p\u003e\n","\u003cp\u003eI could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for \u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethis, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, and love from the family, \u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.\u003c/p\u003e\n","\u003cp\u003eI am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.\u003c/p\u003e\n","\u003cp\u003eI am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eIt was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.\u003c/p\u003e\n","\u003cp\u003eIf I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.\u003c/p\u003e\n","\u003cp\u003eMrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and wishes for your speedy recovery,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \u003c/p\u003e\n","\u003cp\u003eTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt, \u003c/p\u003e\n","\u003cp\u003eIt is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. \u003c/p\u003e\n","\u003cp\u003eI am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. \u003c/p\u003e\n","\u003cp\u003eI am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eSeptember 1, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter and check which I have received today.\u003c/p\u003e\n","\u003cp\u003eI was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.\u003c/p\u003e\n","\u003cp\u003eThe raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.\u003c/p\u003e\n","\u003cp\u003eHowever, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.\u003c/p\u003e\n","\u003cp\u003eI am looking forward to seeing you soon.  With kindest regards and best wishes, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eOctober 7, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eWe are very much relieved that you have found the box.  I would have felt miserable otherwise.\u003c/p\u003e\n","\u003cp\u003eI am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.\u003c/p\u003e\n","\u003cp\u003eI hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eP.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eMay 11, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia \u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.\u003c/p\u003e\n","\u003cp\u003eI am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.\u003c/p\u003e\n","\u003cp\u003eI sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.\u003c/p\u003e\n","\u003cp\u003eOf course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.\u003c/p\u003e\n","\u003cp\u003eLooking forward to the pleasure of seeing you soon, with kindest regards, I am\u003c/p\u003e\n","\u003cp\u003eVery sincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: Telephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eAugust 1, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eI was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. \u003c/p\u003e\n","\u003cp\u003eIt is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. \u003c/p\u003e\n","\u003cp\u003eWe are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer \n[signature]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eNovember 2, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.\u003c/p\u003e\n","\u003cp\u003eHave you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.\u003c/p\u003e\n","\u003cp\u003ePaul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.\u003c/p\u003e\n","\u003cp\u003eI hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 15, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.\u003c/p\u003e\n","\u003cp\u003eI am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.\u003c/p\u003e\n","\u003cp\u003eThe silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\nP. S.  The parchment just arrived.  Thank you.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 30, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!\u003c/p\u003e\n","\u003cp\u003eWe both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.\u003c/p\u003e\n","\u003cp\u003eWe do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).\u003c/p\u003e\n","\u003cp\u003eWith kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003e\nNovember 21, 1945\u003c/p\u003e\n","\u003cp\u003eMrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.\u003c/p\u003e\n","\u003cp\u003eI am enclosing a receipt for them.  They all arrived in good condition including the flower.\u003c/p\u003e\n","\u003cp\u003eRegarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.\u003c/p\u003e\n","\u003cp\u003eI am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nCordially yours,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eENC.\nASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003eJune 4, 1946\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003eThe man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.\u003c/p\u003e\n","\u003cp\u003eHe claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.\u003c/p\u003e\n","\u003cp\u003ePlease do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nSincerely,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York\u003c/p\u003e\n","\u003cp\u003eFebruary 3, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your very kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWell, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.\u003c/p\u003e\n","\u003cp\u003eAlex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.\u003c/p\u003e\n","\u003cp\u003eThe children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.\u003c/p\u003e\n","\u003cp\u003eI hope that we'll be seeing you soon.\u003c/p\u003e\n","\u003cp\u003ePeter and Paul send their love, as do I.\u003c/p\u003e\n","\u003cp\u003eSincerely,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.\u003c/p\u003e\n","\u003cp\u003eApril 24, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you very much for your check and letter.  I do appreciate it.\u003c/p\u003e\n","\u003cp\u003eMy husband just went away for a few days to recuperate, as he is still not up to par.\u003c/p\u003e\n","\u003cp\u003eYes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eCordially,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eJuly 5, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your nice letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!\u003c/p\u003e\n","\u003cp\u003eThe children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.\u003c/p\u003e\n","\u003cp\u003eI hope you are taking good care of yourself and keeping well.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eRay Schaffer\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eCopy\u003c/p\u003e\n","\u003cp\u003eDec. 4th '45\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Schaffer – \u003c/p\u003e\n","\u003cp\u003eHerewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.\u003c/p\u003e\n","\u003cp\u003eTell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.\u003c/p\u003e\n","\u003cp\u003eKindest regards, Sincerely yours,\u003c/p\u003e\n","\u003cp\u003e(Signed) Lillian T. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffe [ripped]\n15 West 50th Street [ripped]\u003c/p\u003e\n","\u003cp\u003eCenter Publications, Inc. \nNEW YORK N Y\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\u003c/p\u003e\n","\u003cp\u003eA most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. \u003c/p\u003e\n","\u003cp\u003eThese eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2443\u003c/p\u003e\n","\u003cp\u003eGolden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.\u003c/p\u003e\n","\u003cp\u003eThis very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN. L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026amp; Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\u003c/p\u003e\n","\u003cp\u003eGOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eThis series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).\u003c/p\u003e\n","\u003cp\u003ePrice tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.\u003c/p\u003e\n","\u003cp\u003eFinally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.\u003c/p\u003e\n","\u003cp\u003eFrom the Collection in the Winter Palace, St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg \nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809\u003c/p\u003e\n","\u003cp\u003eSet of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nHotel McAlpin\nNew York, New York\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.\u003c/p\u003e\n","\u003cp\u003eFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528\u003c/p\u003e\n","\u003cp\u003eAn icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111\u003c/p\u003e\n","\u003cp\u003eA jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.\u003c/p\u003e\n","\u003cp\u003eIt is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019\u003c/p\u003e\n","\u003cp\u003eA jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.\u003c/p\u003e\n","\u003cp\u003eThe box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148\u003c/p\u003e\n","\u003cp\u003eA brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.\u003c/p\u003e\n","\u003cp\u003eIt was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C\u003c/p\u003e\n","\u003cp\u003eA porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.\u003c/p\u003e\n","\u003cp\u003eThe Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \u003c/p\u003e\n","\u003cp\u003eArticle No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62\u003c/p\u003e\n","\u003cp\u003eRare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMarch 6th, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nEaster, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. \u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nAugust 17, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/2\u003c/p\u003e\n","\u003cp\u003eGold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.\u003c/p\u003e\n","\u003cp\u003eIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 29th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nFebruary 8th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay 11th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eLillian T. Pratt\nChristmas, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026amp; Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\u003c/p\u003e\n","\u003cp\u003eLOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.\u003c/p\u003e","\u003cp\u003eTranscription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677\u003c/p\u003e","\u003cp\u003eTranscription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136\u003c/p\u003e","\u003cp\u003eTranscription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -\u003c/p\u003e","\u003cp\u003eTranscription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39\u003c/p\u003e","\u003cp\u003eThis series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 149322\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 159619\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00\u003c/p\u003e","\u003cp\u003eTranscription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026amp; Co.\nFifth Avenue New York\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]\u003c/p\u003e\n","\u003cp\u003e45 00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026amp; Co.\nNew York\u003c/p\u003e\n","\u003cp\u003e[Back]\nB. Altman \u0026amp; Co. New York\n60\n25.00\nOver Treasure Trove tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026amp; Co. New York tag \n45.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026amp; Co. New York\n50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026amp; SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag, Sale\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag [$45.00?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026amp; Col. New York\n[Back] Altman Lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026amp; Co. New York\n[Back] Altman lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52A\nM 98\nB. ALTMAN \u0026amp; CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52-A\nB. ALTMAN \u0026amp; CO.\nS 93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nS93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA4 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nW5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52-A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026amp; Co.\nNew York\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026amp; Co.\nNew York\n[R829 written over company name at bottom]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026amp; Bohemian Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNew York\n165.00 [lined through]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Miller \u0026amp; Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026amp; J. Sloane\n47th \u0026amp; 5th Ave\nN. Y. City\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026amp; Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height\u003c/p\u003e","\u003cp\u003eTranscription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026amp; CO.\nPHILADELPHIA\u003c/p\u003e","\u003cp\u003eTranscription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026amp; E. Wakelin\u003c/p\u003e","\u003cp\u003eTranscription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W\u003c/p\u003e","\u003cp\u003eTranscription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9\u003c/p\u003e","\u003cp\u003eTranscription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026amp; Richard\nSibley\nRRM\u003c/p\u003e","\u003cp\u003eTranscription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427\u003c/p\u003e","\u003cp\u003eTranscription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n10679\nGeo. III\n[lion \u0026amp; unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER\u003c/p\u003e","\u003cp\u003eTranscription: \n2002\n$20.00 (b)\nGeorgian\nMA\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R\u003c/p\u003e","\u003cp\u003eTranscription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32\u003c/p\u003e","\u003cp\u003eTranscription: \nS. \u0026amp; G. GUMP CO.\nSAN FRANCISCO, CAL.\u003c/p\u003e\n","\u003cp\u003eAntique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.\u003c/p\u003e\n","\u003cp\u003eS. \u0026amp; G. GUMP COMPANY\u003c/p\u003e","\u003cp\u003eThis series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.\u003c/p\u003e","\u003cp\u003eTranscription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures\u003c/p\u003e\n","\u003cp\u003eThis remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. \u003c/p\u003e\n","\u003cp\u003eAll Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware\u003c/p\u003e\n","\u003cp\u003eFIFTH FLOOR\u003c/p\u003e\n","\u003cp\u003eThalhimers\u003c/p\u003e","\u003cp\u003eTranscription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel\u003c/p\u003e\n","\u003cp\u003ePart of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention\u003c/p\u003e\n","\u003cp\u003eCzarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. \u003c/p\u003e\n","\u003cp\u003eWhen brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026amp; Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]\u003c/p\u003e","\u003cp\u003eThis series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.\u003c/p\u003e","\u003cp\u003eDescription: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".\u003c/p\u003e","\u003cp\u003eDescription: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.\u003c/p\u003e","\u003cp\u003eDescription: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.\u003c/p\u003e","\u003cp\u003eDescription: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.\u003c/p\u003e","\u003cp\u003eTranscription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY\u003c/p\u003e\n","\u003cp\u003eTO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]\u003c/p\u003e\n","\u003cp\u003ePhotographs - Do Not Bend\u003c/p\u003e","\u003cp\u003eDescription: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eDescription: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.\u003c/p\u003e","\u003cp\u003eTranscription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.\u003c/p\u003e\n","\u003cp\u003e1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003e[Hand drawn and numbered outlines of the heads of all the people in the photograph]\u003c/p\u003e\n","\u003cp\u003e14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.\u003c/p\u003e","\u003cp\u003eDescription: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e"]}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c02_c01_c01_c05"}},{"id":"virmu_repositories_2_resources_8_c02_c01_c01_c01","type":"Item","attributes":{"title":"Ikon 5278, Ikon 5282, Ikon 5283, Ikon 5279, Ikon 5277","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c02_c01_c01_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eTranscription: [In process]\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c02_c01_c01_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_8_c02_c01_c01_c01","ref_ssm":["virmu_repositories_2_resources_8_c02_c01_c01_c01"],"id":"virmu_repositories_2_resources_8_c02_c01_c01_c01","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8_c02_c01_c01","parent_ssi":"virmu_repositories_2_resources_8_c02_c01_c01","parent_ssim":["virmu_repositories_2_resources_8","virmu_repositories_2_resources_8_c02","virmu_repositories_2_resources_8_c02_c01","virmu_repositories_2_resources_8_c02_c01_c01"],"parent_ids_ssim":["virmu_repositories_2_resources_8","virmu_repositories_2_resources_8_c02","virmu_repositories_2_resources_8_c02_c01","virmu_repositories_2_resources_8_c02_c01_c01"],"parent_unittitles_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)","Series 2: Hammer Galleries","Series 2.1: Lord and Taylor Invoices","Folder 7"],"parent_unittitles_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)","Series 2: Hammer Galleries","Series 2.1: Lord and Taylor Invoices","Folder 7"],"text":["Lillian Thomas Pratt Personal Papers (SC-07)","Series 2: Hammer Galleries","Series 2.1: Lord and Taylor Invoices","Folder 7","Ikon 5278, Ikon 5282, Ikon 5283, Ikon 5279, Ikon 5277","Paper","Hammer Galleries","New York (N.Y.)","English","box SC-07 Box 1","folder 7","Item SC07.02.1.001","American--1","Transcription: \n[In process]","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"title_filing_ssi":"Ikon 5278, Ikon 5282, Ikon 5283, Ikon 5279, Ikon 5277","title_ssm":["Ikon 5278, Ikon 5282, Ikon 5283, Ikon 5279, Ikon 5277"],"title_tesim":["Ikon 5278, Ikon 5282, Ikon 5283, Ikon 5279, Ikon 5277"],"unitdate_other_ssim":["Jan. 27, [1933]"],"normalized_date_ssm":["1933"],"normalized_title_ssm":["Ikon 5278, Ikon 5282, Ikon 5283, Ikon 5279, Ikon 5277"],"component_level_isim":[4],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"physdesc_tesim":["Paper"],"extent_ssm":["1 page"],"extent_tesim":["1 page"],"physfacet_tesim":["Invoices"],"creator_ssim":["Hammer Galleries"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":387,"parent_access_restrict_tesm":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website. "],"parent_access_terms_tesm":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"date_range_isim":[1933],"names_ssim":["Hammer Galleries"],"corpname_ssim":["Hammer Galleries"],"geogname_ssim":["New York (N.Y.)"],"geogname_ssm":["New York (N.Y.)"],"places_ssim":["New York (N.Y.)"],"acqinfo_ssim":["Gift of Lillian Thomas Pratt."],"language_ssim":["English"],"containers_ssim":["box SC-07 Box 1","folder 7","Item SC07.02.1.001"],"bioghist_html_tesm":["\u003cp\u003eAmerican--1\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["American--1"],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Transcription: \n[In process]"],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#1/components#0/components#0/components#0","timestamp":"2026-05-21T03:30:55.910Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_8","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_8.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/8","title_filing_ssi":"Pratt, Lillian Thomas (SC-07)","title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"unitdate_ssm":["1901-1947"],"unitdate_inclusive_ssm":["1901-1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-07","/repositories/2/resources/8"],"text":["SC-07","/repositories/2/resources/8","Lillian Thomas Pratt Personal Papers (SC-07)","Art objects, Russian","Easter eggs","Fabergé eggs","The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . ","The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated","The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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can--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.","47.20.412, 47.20.333, 47.20.312","47.20.14, 47.20.284, 47.20.338","47.20.30, 47.20.26, 47.20.28, 47.20.214, 47.20.341, 47.20.363, 47.20.404, 47.20.309","47.20.167, 47.20.72, 47.20.287, 47.20.166, 47.20.346, 47.20.296, 47.20.90, 47.20.95, 47.20.420, 47.20.421, 47.20.85, 47.20.94, 47.20.77, 47.20.74, 47.20.78, 47.20.75, 47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62, 47.20.84, 47.20.86, 47.20.82, 47.20.91, 47.20.87, 47.20.115, 47.20.63, 47.20.83, 47.20.54, 47.20.88, 47.20.130, 47.20.93, 47.20.59, 47.20.56, 47.20.58, 47.20.92, 47.20.96","47.20.4, 47.20.71, 47.20.81, 47.20.70, 47.20.55, 47.20.80, 47.20.76, 47.20.332, 47.20.336, 47.20.397, 47.20.140, 47.20.342, 47.20.281, 47.20.304, 47.20.157","47.20.416, 47.20.349, 47.20.317, 47.20.197","47.20.314, 47.20.313, 47.20.322, 47.20.290, 47.20.251, 47.20.12, 47.20.319, 47.20.184, 47.20.169, 47.20.358, 47.20.350, 47.20.183, 47.20.187, 47.20.141, 47.20.162, 47.20.417, 47.20.329","47.20.173, 47.20.195","47.20.173, 47.20.195","47.20.31, 47.20.291, 47.20.193, 47.20.275, 47.20.181, 47.20.164, 47.20.168, 47.20.27, 47.20.182, 47.20.177, 47.20.196, 47.20.396, 47.20.315, 47.20.337, 47.20.413, 47.20.320","47.20.263, 47.20.353","47.20.310, 47.20.339, 47.20.19, 47.20.282, 47.20.286, 47.20.45, 47.20.348, 47.20.142, 47.20.143, 47.20.128, 47.20.185, 47.20.190, 47.20.180, 47.20.276, 47.20.127","47.20.255, 47.20.294, 47.20.314, 47.20.356, 47.20.414, 47.20.299, 47.20.210,","47.20.22, 47.20.13, 47.20.151, 47.20.279, 47.20.191, 47.20.252, 47.20.7, 47.20.21","47.20.51, 47.20.64, 47.20.493, 47.20.52, 47.20.126, 47.20.278, 47.20.208","47.20.29, 47.20.17","47.20.221, 47.20.265, 47.20.308","47.20.240, 47.20.257, 47.20.256","47.20.306","47.20.292, 47.20.288, 47.20.267","47.20.259, 47.20.311, 47.20.138","47.20.20, 47.20.297, 47.20.351, 47.20.163, 47.20.144, 47.20.220","47.20.215, 47.20.394","47.20.374, 47.20.216, 47.20.110, 47.20.136, 47.20.113, 47.20.118, 47.20.112, 47.20.122, 47.20.119, 47.20.114, 27.40.120, 47.20.125, 47.20.121, 47.20.117","47.20.374, 47.20.216, 47.20.110, 47.20.136, 47.20.113, 47.20.118, 47.20.112, 47.20.122, 47.20.119, 47.20.114, 27.40.120, 47.20.125, 47.20.121, 47.20.117","47.20.131","47.20.13","47.20.33","47.20.33","47.20.248, 47.20.249, 47.20.132, 47.20.30, 47.20.403, 47.20.402","47.20.373","47.20.209, 47.20.334, 47.20.318, 47.20.102, 47.20.100, 47.20.101","47.20.343, 47.20.344, 47.20.340, 47.20.46, 47.20.148","47.20.495, 47.20.273","47.20.233, 47.20.395","47.20.16","47.20.13","47.20.154, 47.20.205","47.20.379","47.20.383","47.20.310","47.20.339","47.20.19","47.20.282","47.20.286","47.20.45","47.20.284","47.20.312","47.20.338","47.20.333","47.20.412","47.20.14","47.20.13","47.20.177","47.20.196","47.20.168","47.20.181","47.20.193","47.20.164","47.20.182","47.20.169","47.20.27","47.20.275","47.20.291","47.20.320","47.20.337","47.20.413","47.20.31","47.20.315","47.20.396","47.20.348","47.20.142","47.20.143","47.20.128","47.20.279","47.20.185","47.20.190","47.20.180","47.20.276","47.20.127","47.20.131","47.20.167","47.20.139","47.20.312","47.20.312","47.20.333","47.20.412","47.20.39","47.20.14","47.20.284","47.20.338","47.20.30","47.20.26","47.20.28","47.20.214","47.20.404","47.20.386","47.20.145","47.20.287","47.20.72","47.20.166","47.20.346","47.20.296","47.20.90","47.20.37","47.20.95, 47.20.85, 47.20.94, 47.20.77, 47.20.59","47.20.74, 47.20.78, 47.20.75, 47.20.63, 47.20.83","47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62","47.20.84, 47.20.86, 47.20.82, 47.20.91, 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47.20.117","47.20.288","47.20.292","47.20.383.1-6","47.20.343","47.20.273","47.20.46, 47.20.148","47.20.495","47.20.344","47.20.394","47.20.215","47.20.209","47.20.373","47.20.131","47.20.334","47.20.102","47.20.100","47.20.101","47.20.318","47.20.132, 47.20.30, 47.20.403, 47.20.402","47.20.306","47.20.351","47.20.270","47.20.18, 47.20.8","47.20.323","47.20.345","47.20.10","47.20.18","47.20.419","47.20.355","47.20.392","47.20.40","47.20.357","47.20.8","47.20.384","47.20.9","47.20.427","47.20.382","47.20.419","47.20.1","47.20.2","47.20.2","47.20.11","47.20.391","47.20.389","47.20.393","47.20.378","47.20.25,47.20.419, 47.20.10, 47.20.11","47.20.392","47.20.398","47.20.381","47.20.419","47.20.355","47.20.391","47.20.9a","47.20.384.1-13","47.20.378","47.20.427","47.20.382","47.20.18","47.20.8","47.20.409","47.20.398","47.20.405","47.20.357","47.20.392","47.20.390","47.20.388.1, 47.20.388.2","47.20.36","47.20.389","47.20.393","47.20.393","47.20.387","47.20.3","47.20.425","47.20.303, 47.20.367","47.20.426","47.20.146","47.20.5","47.20.6","47.20.40","47.20.345","47.20.222","47.20.213","47.20.69","47.20.137","47.20.272","47.20.38","47.20.179","47.20.277a-b","47.20.330","47.20.326","47.20.53","47.20.305","47.20.323","47.20.376.1-42","47.20.271","47.20.269","47.20.244","47.20.268","47.20.152","47.20.15","47.20.165","47.20.327","47.20.328","47.20.41","47.20.293","47.20.47","47.20.48","47.20.49","47.20.50","47.20.65","47.20.66","47.20.67","47.20.68","47.20.98","47.20.250","47.20.161","47.20.325","47.20.227","47.20.235","47.20.231","47.20.211","47.20.207","47.20.202","47.20.324","47.20.228","47.20.241, 47.20.242","47.20.170","47.20.203","47.20.225","47.20.217","47.20.218","47.20.221","47.20.224","47.20.230","47.20.229","47.20.232","47.20.261","47.20.260","47.20.155","47.20.60","47.20.171","47.20.239","47.20.244","47.20.247","47.20.262","47.20.266","47.20.300","47.20.133","47.20.134","47.20.289","47.20.57","47.20.99","47.20.111","47.20.116","47.20.123","47.20.124","47.20.385","47.20.301","47.20.156","47.20.172","47.20.186","47.20.246","47.20.199","47.20.198","47.20.178","47.20.285","47.20.309","47.20.234","47.20.226","47.20.223","47.20.220","47.20.219","47.20.212","47.20.245","47.20.109","47.20.43","47.20.238","47.20.103","47.20.108","47.20.354","47.20.375","47.20.335","47.20.331","47.20.321","47.20.298","47.20.254","47.20.105","47.20.104","47.20.106","47.20.107","47.20.135","47.20.359, 47.20.365","47.20.35","42.19.1","47.20.1, 47.20.2","47.20.11","47.20.25","47.20.10","47.20.419","47.20.32","47.20.32","47.20.32","47.20.32","47.20.32","47.20.357","47.20.409","47.20.303, 47.20.367","47.20.387","47.20.3","47.20.425","47.20.34","47.20.34","47.20.36, 47.20.32, 47.20.34","47.20.17","47.20.17","47.20.17","47.20.348","47.20.21","47.20.21","47.20.176","47.20.36","47.20.32","11061-1, 47.20.33, 47.20.34","11912-2, 47.20.34, 47.20.35, 47.20.32","11912-3, 47.20.34, 47.20.44, 47.20.148","1651, 47.20.235, 47.20.217, 47.20.222","4471, 47.20.214","490M, 47.20.32, 47.20.33","490M-6, 47.20.32","491M-19, 47.20.36, 47.20.231","491M-29, 47.20.148, 47.20.46","544M, 47.20.222, 47.20.217","7852M-10, 47.20.126","7852M-12, 47.20.34, 47.20.17, 47.20.18","7853M-4, 47.20.34, 47.20.32, 47.20.148, 47.20.46","The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","English \n.    "],"unitid_tesim":["SC-07","/repositories/2/resources/8"],"normalized_title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray"],"creator_corpname_ssim":["Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creators_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art objects, Russian","Easter eggs","Fabergé eggs"],"access_subjects_ssm":["Art objects, Russian","Easter eggs","Fabergé eggs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"extent_tesim":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"physfacet_tesim":["723 items"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e\n","\u003cp\u003eDigitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/lillian-thomas-pratt-personal-papers-sc-07/\"\u003eVMFA Collections Search website\u003c/a\u003e. \u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . "],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSchaffer Collection, 1934-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHammer Galleries, 1933-1945, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eEstate, 1932-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eClippings, 1932-1937, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMuseum Records, 1936-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated"],"bibliography_html_tesm":["\u003cbibref\u003eThe Fall of the Romanoffs: How the Ex-Empress \u0026amp; Rasputine Caused the Russian Revolution, 1917\u003c/bibref\u003e","\u003cbibref\u003eConfessions of the Czarina, 1918\u003c/bibref\u003e","\u003cbibref\u003eMother Dear: The Empress Marie of Russia and Her Times, 1926\u003c/bibref\u003e","\u003cbibref\u003eThe Tragic Bride: The Story of the Empress Alexandra of Russia, 1927\u003c/bibref\u003e","\u003cbibref\u003eThe Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Intimate Life of the Last Tzarina, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931\u003c/bibref\u003e","\u003cbibref\u003eRussia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931\u003c/bibref\u003e","\u003cbibref\u003eEducation of a Princess: A Memoir, 1931\u003c/bibref\u003e","\u003cbibref\u003eA Princess in Exile, 1932\u003c/bibref\u003e","\u003cbibref\u003eTwice Seven, 1937\u003c/bibref\u003e","\u003cbibref\u003eRussian Imperial Treasures: Collection of Lillian T. Pratt, undated\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940\u003c/bibref\u003e","\u003cbibref\u003eHandbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960\u003c/bibref\u003e","\u003cbibref\u003eFabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976\u003c/bibref\u003e","\u003cbibref\u003eFabergé: Virginia Museum of Fine Arts, 1995\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed: At the Virginia Museum of Fine Arts, 2011\u003c/bibref\u003e","\u003cbibref\u003eLillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996\u003c/bibref\u003e","\u003cbibref\u003eSelections from the Lillian Thomas Pratt Collection of Jewels, 1947\u003c/bibref\u003e","\u003cbibref\u003e12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1949\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1950\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1951\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1952\u003c/bibref\u003e","\u003cbibref\u003eJewelry by Fabergé, 1953\u003c/bibref\u003e","\u003cbibref\u003eJewels by Fabergé, 1954\u003c/bibref\u003e","\u003cbibref\u003eFabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed, 2011\u003c/bibref\u003e","\u003cbibref\u003eVMFA Collections: Decorative Arts: Metalwork: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVMFA Donors: Pratt, John Lee and Lillian Thomas\u003c/bibref\u003e","\u003cbibref\u003eVMFA Gallery Design: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pratt's Personal Library","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Video","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia"],"bibliography_tesim":["The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)"],"bioghist_html_tesm":["\u003cp\u003eTwo months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.\u003c/p\u003e\n","\u003cp\u003ePratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=6519%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER\"\u003eFabergé: Virginia Museum of Fine 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Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. 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Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eWide World Photos, Inc. (NY-33541), Copyright 1937.\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","Ge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Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities."],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives."],"processinfo_html_tesm":["\u003cp\u003eA large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. 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The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: 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Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. "],"abstract_html_tesm":["\u003cabstract id=\"aspace_fb5f9a7488efeca094913bc14bf01383\"\u003eThe collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer."],"names_coll_ssim":["Fabergé (Firm)","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections"],"names_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"language_ssim":["English \n.    "],"total_component_count_is":762,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:30:55.910Z","scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.\u003c/p\u003e\n","\u003cp\u003eThe invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. \u003c/p\u003e\n","\u003cp\u003eI have received your note and also the book, and am sorry that you have had this unpleasantness.\u003c/p\u003e\n","\u003cp\u003eI hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, \u003c/p\u003e\n","\u003cp\u003eYours very sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.\u003c/p\u003e\n","\u003cp\u003eI will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.\u003c/p\u003e\n","\u003cp\u003eOr maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.\u003c/p\u003e\n","\u003cp\u003eI am sorry you had to be annoyed paying\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethe freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.\u003c/p\u003e\n","\u003cp\u003eWith best wishes and kindest regards, in which Mrs. Schaffer joins me, I am\u003c/p\u003e\n","\u003cp\u003eYours most sincerely, \nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. \u003c/p\u003e\n","\u003cp\u003eSorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.\u003c/p\u003e\n","\u003cp\u003eI have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. \u003c/p\u003e\n","\u003cp\u003eOn second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see \u003c/p\u003e\n","\u003cp\u003e(over please)\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003eyour things, and at the same time I could measure the egg.\u003c/p\u003e\n","\u003cp\u003eI think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. \u003c/p\u003e\n","\u003cp\u003eThe heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. \u003c/p\u003e\n","\u003cp\u003eHoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexanders S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eJust a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. \u003c/p\u003e\n","\u003cp\u003eSo far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.\u003c/p\u003e\n","\u003cp\u003eBelieve it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. \u003c/p\u003e\n","\u003cp\u003eI would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. \u003c/p\u003e\n","\u003cp\u003eRegarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. \u003c/p\u003e\n","\u003cp\u003eI could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for \u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethis, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, and love from the family, \u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.\u003c/p\u003e\n","\u003cp\u003eI am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.\u003c/p\u003e\n","\u003cp\u003eI am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eIt was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.\u003c/p\u003e\n","\u003cp\u003eIf I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.\u003c/p\u003e\n","\u003cp\u003eMrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and wishes for your speedy recovery,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \u003c/p\u003e\n","\u003cp\u003eTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt, \u003c/p\u003e\n","\u003cp\u003eIt is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. \u003c/p\u003e\n","\u003cp\u003eI am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. \u003c/p\u003e\n","\u003cp\u003eI am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eSeptember 1, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter and check which I have received today.\u003c/p\u003e\n","\u003cp\u003eI was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.\u003c/p\u003e\n","\u003cp\u003eThe raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.\u003c/p\u003e\n","\u003cp\u003eHowever, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.\u003c/p\u003e\n","\u003cp\u003eI am looking forward to seeing you soon.  With kindest regards and best wishes, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eOctober 7, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eWe are very much relieved that you have found the box.  I would have felt miserable otherwise.\u003c/p\u003e\n","\u003cp\u003eI am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.\u003c/p\u003e\n","\u003cp\u003eI hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eP.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eMay 11, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia \u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.\u003c/p\u003e\n","\u003cp\u003eI am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.\u003c/p\u003e\n","\u003cp\u003eI sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.\u003c/p\u003e\n","\u003cp\u003eOf course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.\u003c/p\u003e\n","\u003cp\u003eLooking forward to the pleasure of seeing you soon, with kindest regards, I am\u003c/p\u003e\n","\u003cp\u003eVery sincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: Telephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eAugust 1, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eI was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. \u003c/p\u003e\n","\u003cp\u003eIt is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. \u003c/p\u003e\n","\u003cp\u003eWe are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer \n[signature]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eNovember 2, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.\u003c/p\u003e\n","\u003cp\u003eHave you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.\u003c/p\u003e\n","\u003cp\u003ePaul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.\u003c/p\u003e\n","\u003cp\u003eI hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 15, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.\u003c/p\u003e\n","\u003cp\u003eI am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.\u003c/p\u003e\n","\u003cp\u003eThe silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\nP. S.  The parchment just arrived.  Thank you.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 30, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!\u003c/p\u003e\n","\u003cp\u003eWe both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.\u003c/p\u003e\n","\u003cp\u003eWe do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).\u003c/p\u003e\n","\u003cp\u003eWith kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003e\nNovember 21, 1945\u003c/p\u003e\n","\u003cp\u003eMrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.\u003c/p\u003e\n","\u003cp\u003eI am enclosing a receipt for them.  They all arrived in good condition including the flower.\u003c/p\u003e\n","\u003cp\u003eRegarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.\u003c/p\u003e\n","\u003cp\u003eI am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nCordially yours,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eENC.\nASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003eJune 4, 1946\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003eThe man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.\u003c/p\u003e\n","\u003cp\u003eHe claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.\u003c/p\u003e\n","\u003cp\u003ePlease do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nSincerely,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York\u003c/p\u003e\n","\u003cp\u003eFebruary 3, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your very kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWell, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.\u003c/p\u003e\n","\u003cp\u003eAlex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.\u003c/p\u003e\n","\u003cp\u003eThe children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.\u003c/p\u003e\n","\u003cp\u003eI hope that we'll be seeing you soon.\u003c/p\u003e\n","\u003cp\u003ePeter and Paul send their love, as do I.\u003c/p\u003e\n","\u003cp\u003eSincerely,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.\u003c/p\u003e\n","\u003cp\u003eApril 24, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you very much for your check and letter.  I do appreciate it.\u003c/p\u003e\n","\u003cp\u003eMy husband just went away for a few days to recuperate, as he is still not up to par.\u003c/p\u003e\n","\u003cp\u003eYes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eCordially,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eJuly 5, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your nice letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!\u003c/p\u003e\n","\u003cp\u003eThe children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.\u003c/p\u003e\n","\u003cp\u003eI hope you are taking good care of yourself and keeping well.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eRay Schaffer\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eCopy\u003c/p\u003e\n","\u003cp\u003eDec. 4th '45\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Schaffer – \u003c/p\u003e\n","\u003cp\u003eHerewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.\u003c/p\u003e\n","\u003cp\u003eTell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.\u003c/p\u003e\n","\u003cp\u003eKindest regards, Sincerely yours,\u003c/p\u003e\n","\u003cp\u003e(Signed) Lillian T. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffe [ripped]\n15 West 50th Street [ripped]\u003c/p\u003e\n","\u003cp\u003eCenter Publications, Inc. \nNEW YORK N Y\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\u003c/p\u003e\n","\u003cp\u003eA most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. \u003c/p\u003e\n","\u003cp\u003eThese eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2443\u003c/p\u003e\n","\u003cp\u003eGolden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.\u003c/p\u003e\n","\u003cp\u003eThis very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN. L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026amp; Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\u003c/p\u003e\n","\u003cp\u003eGOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eThis series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).\u003c/p\u003e\n","\u003cp\u003ePrice tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.\u003c/p\u003e\n","\u003cp\u003eFinally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.\u003c/p\u003e\n","\u003cp\u003eFrom the Collection in the Winter Palace, St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg \nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809\u003c/p\u003e\n","\u003cp\u003eSet of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nHotel McAlpin\nNew York, New York\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.\u003c/p\u003e\n","\u003cp\u003eFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528\u003c/p\u003e\n","\u003cp\u003eAn icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111\u003c/p\u003e\n","\u003cp\u003eA jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.\u003c/p\u003e\n","\u003cp\u003eIt is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019\u003c/p\u003e\n","\u003cp\u003eA jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.\u003c/p\u003e\n","\u003cp\u003eThe box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148\u003c/p\u003e\n","\u003cp\u003eA brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.\u003c/p\u003e\n","\u003cp\u003eIt was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C\u003c/p\u003e\n","\u003cp\u003eA porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.\u003c/p\u003e\n","\u003cp\u003eThe Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \u003c/p\u003e\n","\u003cp\u003eArticle No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62\u003c/p\u003e\n","\u003cp\u003eRare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMarch 6th, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nEaster, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. \u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nAugust 17, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/2\u003c/p\u003e\n","\u003cp\u003eGold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.\u003c/p\u003e\n","\u003cp\u003eIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 29th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nFebruary 8th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay 11th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eLillian T. Pratt\nChristmas, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026amp; Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\u003c/p\u003e\n","\u003cp\u003eLOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.\u003c/p\u003e","\u003cp\u003eTranscription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677\u003c/p\u003e","\u003cp\u003eTranscription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136\u003c/p\u003e","\u003cp\u003eTranscription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -\u003c/p\u003e","\u003cp\u003eTranscription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39\u003c/p\u003e","\u003cp\u003eThis series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 149322\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 159619\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00\u003c/p\u003e","\u003cp\u003eTranscription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026amp; Co.\nFifth Avenue New York\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]\u003c/p\u003e\n","\u003cp\u003e45 00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026amp; Co.\nNew York\u003c/p\u003e\n","\u003cp\u003e[Back]\nB. Altman \u0026amp; Co. New York\n60\n25.00\nOver Treasure Trove tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026amp; Co. New York tag \n45.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026amp; Co. New York\n50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026amp; SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag, Sale\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag [$45.00?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026amp; Col. New York\n[Back] Altman Lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026amp; Co. New York\n[Back] Altman lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52A\nM 98\nB. ALTMAN \u0026amp; CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52-A\nB. ALTMAN \u0026amp; CO.\nS 93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nS93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA4 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nW5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52-A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026amp; Co.\nNew York\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026amp; Co.\nNew York\n[R829 written over company name at bottom]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026amp; Bohemian Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNew York\n165.00 [lined through]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Miller \u0026amp; Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026amp; J. Sloane\n47th \u0026amp; 5th Ave\nN. Y. City\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026amp; Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height\u003c/p\u003e","\u003cp\u003eTranscription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026amp; CO.\nPHILADELPHIA\u003c/p\u003e","\u003cp\u003eTranscription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026amp; E. Wakelin\u003c/p\u003e","\u003cp\u003eTranscription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W\u003c/p\u003e","\u003cp\u003eTranscription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9\u003c/p\u003e","\u003cp\u003eTranscription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026amp; Richard\nSibley\nRRM\u003c/p\u003e","\u003cp\u003eTranscription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427\u003c/p\u003e","\u003cp\u003eTranscription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n10679\nGeo. III\n[lion \u0026amp; unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER\u003c/p\u003e","\u003cp\u003eTranscription: \n2002\n$20.00 (b)\nGeorgian\nMA\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R\u003c/p\u003e","\u003cp\u003eTranscription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32\u003c/p\u003e","\u003cp\u003eTranscription: \nS. \u0026amp; G. GUMP CO.\nSAN FRANCISCO, CAL.\u003c/p\u003e\n","\u003cp\u003eAntique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.\u003c/p\u003e\n","\u003cp\u003eS. \u0026amp; G. GUMP COMPANY\u003c/p\u003e","\u003cp\u003eThis series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.\u003c/p\u003e","\u003cp\u003eTranscription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures\u003c/p\u003e\n","\u003cp\u003eThis remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. \u003c/p\u003e\n","\u003cp\u003eAll Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware\u003c/p\u003e\n","\u003cp\u003eFIFTH FLOOR\u003c/p\u003e\n","\u003cp\u003eThalhimers\u003c/p\u003e","\u003cp\u003eTranscription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel\u003c/p\u003e\n","\u003cp\u003ePart of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention\u003c/p\u003e\n","\u003cp\u003eCzarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. \u003c/p\u003e\n","\u003cp\u003eWhen brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026amp; Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]\u003c/p\u003e","\u003cp\u003eThis series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.\u003c/p\u003e","\u003cp\u003eDescription: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".\u003c/p\u003e","\u003cp\u003eDescription: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.\u003c/p\u003e","\u003cp\u003eDescription: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.\u003c/p\u003e","\u003cp\u003eDescription: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.\u003c/p\u003e","\u003cp\u003eTranscription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY\u003c/p\u003e\n","\u003cp\u003eTO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]\u003c/p\u003e\n","\u003cp\u003ePhotographs - Do Not Bend\u003c/p\u003e","\u003cp\u003eDescription: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eDescription: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.\u003c/p\u003e","\u003cp\u003eTranscription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.\u003c/p\u003e\n","\u003cp\u003e1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003e[Hand drawn and numbered outlines of the heads of all the people in the photograph]\u003c/p\u003e\n","\u003cp\u003e14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.\u003c/p\u003e","\u003cp\u003eDescription: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e"]}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c02_c01_c01_c01"}},{"id":"virmu_repositories_2_resources_8_c02_c01_c01_c02","type":"Item","attributes":{"title":"Ikon 5281, Ikon 5280, Ikon 5286, Ikon 5284","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c02_c01_c01_c02#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eTranscription: [In process]\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c02_c01_c01_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_8_c02_c01_c01_c02","ref_ssm":["virmu_repositories_2_resources_8_c02_c01_c01_c02"],"id":"virmu_repositories_2_resources_8_c02_c01_c01_c02","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8_c02_c01_c01","parent_ssi":"virmu_repositories_2_resources_8_c02_c01_c01","parent_ssim":["virmu_repositories_2_resources_8","virmu_repositories_2_resources_8_c02","virmu_repositories_2_resources_8_c02_c01","virmu_repositories_2_resources_8_c02_c01_c01"],"parent_ids_ssim":["virmu_repositories_2_resources_8","virmu_repositories_2_resources_8_c02","virmu_repositories_2_resources_8_c02_c01","virmu_repositories_2_resources_8_c02_c01_c01"],"parent_unittitles_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)","Series 2: Hammer Galleries","Series 2.1: Lord and Taylor Invoices","Folder 7"],"parent_unittitles_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)","Series 2: Hammer Galleries","Series 2.1: Lord and Taylor Invoices","Folder 7"],"text":["Lillian Thomas Pratt Personal Papers (SC-07)","Series 2: Hammer Galleries","Series 2.1: Lord and Taylor Invoices","Folder 7","Ikon 5281, Ikon 5280, Ikon 5286, Ikon 5284","Paper","Hammer Galleries","New York (N.Y.)","English","box SC-07 Box 1","folder 7","Item SC07.02.1.002","American--1","Transcription: \n[In process]","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"title_filing_ssi":"Ikon 5281, Ikon 5280, Ikon 5286, Ikon 5284","title_ssm":["Ikon 5281, Ikon 5280, Ikon 5286, Ikon 5284"],"title_tesim":["Ikon 5281, Ikon 5280, Ikon 5286, Ikon 5284"],"unitdate_other_ssim":["Jan. 27, [1933]"],"normalized_date_ssm":["1933"],"normalized_title_ssm":["Ikon 5281, Ikon 5280, Ikon 5286, Ikon 5284"],"component_level_isim":[4],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"physdesc_tesim":["Paper"],"extent_ssm":["1 page"],"extent_tesim":["1 page"],"physfacet_tesim":["Invoices"],"creator_ssim":["Hammer Galleries"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":388,"parent_access_restrict_tesm":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website. "],"parent_access_terms_tesm":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"date_range_isim":[1933],"names_ssim":["Hammer Galleries"],"corpname_ssim":["Hammer Galleries"],"geogname_ssim":["New York (N.Y.)"],"geogname_ssm":["New York (N.Y.)"],"places_ssim":["New York (N.Y.)"],"acqinfo_ssim":["Gift of Lillian Thomas Pratt."],"language_ssim":["English"],"containers_ssim":["box SC-07 Box 1","folder 7","Item SC07.02.1.002"],"bioghist_html_tesm":["\u003cp\u003eAmerican--1\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["American--1"],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Transcription: \n[In process]"],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#1/components#0/components#0/components#1","timestamp":"2026-05-21T03:30:55.910Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_8","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_8.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/8","title_filing_ssi":"Pratt, Lillian Thomas (SC-07)","title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"unitdate_ssm":["1901-1947"],"unitdate_inclusive_ssm":["1901-1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-07","/repositories/2/resources/8"],"text":["SC-07","/repositories/2/resources/8","Lillian Thomas Pratt Personal Papers (SC-07)","Art objects, Russian","Easter eggs","Fabergé eggs","The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . ","The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated","The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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can--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.","47.20.412, 47.20.333, 47.20.312","47.20.14, 47.20.284, 47.20.338","47.20.30, 47.20.26, 47.20.28, 47.20.214, 47.20.341, 47.20.363, 47.20.404, 47.20.309","47.20.167, 47.20.72, 47.20.287, 47.20.166, 47.20.346, 47.20.296, 47.20.90, 47.20.95, 47.20.420, 47.20.421, 47.20.85, 47.20.94, 47.20.77, 47.20.74, 47.20.78, 47.20.75, 47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62, 47.20.84, 47.20.86, 47.20.82, 47.20.91, 47.20.87, 47.20.115, 47.20.63, 47.20.83, 47.20.54, 47.20.88, 47.20.130, 47.20.93, 47.20.59, 47.20.56, 47.20.58, 47.20.92, 47.20.96","47.20.4, 47.20.71, 47.20.81, 47.20.70, 47.20.55, 47.20.80, 47.20.76, 47.20.332, 47.20.336, 47.20.397, 47.20.140, 47.20.342, 47.20.281, 47.20.304, 47.20.157","47.20.416, 47.20.349, 47.20.317, 47.20.197","47.20.314, 47.20.313, 47.20.322, 47.20.290, 47.20.251, 47.20.12, 47.20.319, 47.20.184, 47.20.169, 47.20.358, 47.20.350, 47.20.183, 47.20.187, 47.20.141, 47.20.162, 47.20.417, 47.20.329","47.20.173, 47.20.195","47.20.173, 47.20.195","47.20.31, 47.20.291, 47.20.193, 47.20.275, 47.20.181, 47.20.164, 47.20.168, 47.20.27, 47.20.182, 47.20.177, 47.20.196, 47.20.396, 47.20.315, 47.20.337, 47.20.413, 47.20.320","47.20.263, 47.20.353","47.20.310, 47.20.339, 47.20.19, 47.20.282, 47.20.286, 47.20.45, 47.20.348, 47.20.142, 47.20.143, 47.20.128, 47.20.185, 47.20.190, 47.20.180, 47.20.276, 47.20.127","47.20.255, 47.20.294, 47.20.314, 47.20.356, 47.20.414, 47.20.299, 47.20.210,","47.20.22, 47.20.13, 47.20.151, 47.20.279, 47.20.191, 47.20.252, 47.20.7, 47.20.21","47.20.51, 47.20.64, 47.20.493, 47.20.52, 47.20.126, 47.20.278, 47.20.208","47.20.29, 47.20.17","47.20.221, 47.20.265, 47.20.308","47.20.240, 47.20.257, 47.20.256","47.20.306","47.20.292, 47.20.288, 47.20.267","47.20.259, 47.20.311, 47.20.138","47.20.20, 47.20.297, 47.20.351, 47.20.163, 47.20.144, 47.20.220","47.20.215, 47.20.394","47.20.374, 47.20.216, 47.20.110, 47.20.136, 47.20.113, 47.20.118, 47.20.112, 47.20.122, 47.20.119, 47.20.114, 27.40.120, 47.20.125, 47.20.121, 47.20.117","47.20.374, 47.20.216, 47.20.110, 47.20.136, 47.20.113, 47.20.118, 47.20.112, 47.20.122, 47.20.119, 47.20.114, 27.40.120, 47.20.125, 47.20.121, 47.20.117","47.20.131","47.20.13","47.20.33","47.20.33","47.20.248, 47.20.249, 47.20.132, 47.20.30, 47.20.403, 47.20.402","47.20.373","47.20.209, 47.20.334, 47.20.318, 47.20.102, 47.20.100, 47.20.101","47.20.343, 47.20.344, 47.20.340, 47.20.46, 47.20.148","47.20.495, 47.20.273","47.20.233, 47.20.395","47.20.16","47.20.13","47.20.154, 47.20.205","47.20.379","47.20.383","47.20.310","47.20.339","47.20.19","47.20.282","47.20.286","47.20.45","47.20.284","47.20.312","47.20.338","47.20.333","47.20.412","47.20.14","47.20.13","47.20.177","47.20.196","47.20.168","47.20.181","47.20.193","47.20.164","47.20.182","47.20.169","47.20.27","47.20.275","47.20.291","47.20.320","47.20.337","47.20.413","47.20.31","47.20.315","47.20.396","47.20.348","47.20.142","47.20.143","47.20.128","47.20.279","47.20.185","47.20.190","47.20.180","47.20.276","47.20.127","47.20.131","47.20.167","47.20.139","47.20.312","47.20.312","47.20.333","47.20.412","47.20.39","47.20.14","47.20.284","47.20.338","47.20.30","47.20.26","47.20.28","47.20.214","47.20.404","47.20.386","47.20.145","47.20.287","47.20.72","47.20.166","47.20.346","47.20.296","47.20.90","47.20.37","47.20.95, 47.20.85, 47.20.94, 47.20.77, 47.20.59","47.20.74, 47.20.78, 47.20.75, 47.20.63, 47.20.83","47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62","47.20.84, 47.20.86, 47.20.82, 47.20.91, 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47.20.117","47.20.288","47.20.292","47.20.383.1-6","47.20.343","47.20.273","47.20.46, 47.20.148","47.20.495","47.20.344","47.20.394","47.20.215","47.20.209","47.20.373","47.20.131","47.20.334","47.20.102","47.20.100","47.20.101","47.20.318","47.20.132, 47.20.30, 47.20.403, 47.20.402","47.20.306","47.20.351","47.20.270","47.20.18, 47.20.8","47.20.323","47.20.345","47.20.10","47.20.18","47.20.419","47.20.355","47.20.392","47.20.40","47.20.357","47.20.8","47.20.384","47.20.9","47.20.427","47.20.382","47.20.419","47.20.1","47.20.2","47.20.2","47.20.11","47.20.391","47.20.389","47.20.393","47.20.378","47.20.25,47.20.419, 47.20.10, 47.20.11","47.20.392","47.20.398","47.20.381","47.20.419","47.20.355","47.20.391","47.20.9a","47.20.384.1-13","47.20.378","47.20.427","47.20.382","47.20.18","47.20.8","47.20.409","47.20.398","47.20.405","47.20.357","47.20.392","47.20.390","47.20.388.1, 47.20.388.2","47.20.36","47.20.389","47.20.393","47.20.393","47.20.387","47.20.3","47.20.425","47.20.303, 47.20.367","47.20.426","47.20.146","47.20.5","47.20.6","47.20.40","47.20.345","47.20.222","47.20.213","47.20.69","47.20.137","47.20.272","47.20.38","47.20.179","47.20.277a-b","47.20.330","47.20.326","47.20.53","47.20.305","47.20.323","47.20.376.1-42","47.20.271","47.20.269","47.20.244","47.20.268","47.20.152","47.20.15","47.20.165","47.20.327","47.20.328","47.20.41","47.20.293","47.20.47","47.20.48","47.20.49","47.20.50","47.20.65","47.20.66","47.20.67","47.20.68","47.20.98","47.20.250","47.20.161","47.20.325","47.20.227","47.20.235","47.20.231","47.20.211","47.20.207","47.20.202","47.20.324","47.20.228","47.20.241, 47.20.242","47.20.170","47.20.203","47.20.225","47.20.217","47.20.218","47.20.221","47.20.224","47.20.230","47.20.229","47.20.232","47.20.261","47.20.260","47.20.155","47.20.60","47.20.171","47.20.239","47.20.244","47.20.247","47.20.262","47.20.266","47.20.300","47.20.133","47.20.134","47.20.289","47.20.57","47.20.99","47.20.111","47.20.116","47.20.123","47.20.124","47.20.385","47.20.301","47.20.156","47.20.172","47.20.186","47.20.246","47.20.199","47.20.198","47.20.178","47.20.285","47.20.309","47.20.234","47.20.226","47.20.223","47.20.220","47.20.219","47.20.212","47.20.245","47.20.109","47.20.43","47.20.238","47.20.103","47.20.108","47.20.354","47.20.375","47.20.335","47.20.331","47.20.321","47.20.298","47.20.254","47.20.105","47.20.104","47.20.106","47.20.107","47.20.135","47.20.359, 47.20.365","47.20.35","42.19.1","47.20.1, 47.20.2","47.20.11","47.20.25","47.20.10","47.20.419","47.20.32","47.20.32","47.20.32","47.20.32","47.20.32","47.20.357","47.20.409","47.20.303, 47.20.367","47.20.387","47.20.3","47.20.425","47.20.34","47.20.34","47.20.36, 47.20.32, 47.20.34","47.20.17","47.20.17","47.20.17","47.20.348","47.20.21","47.20.21","47.20.176","47.20.36","47.20.32","11061-1, 47.20.33, 47.20.34","11912-2, 47.20.34, 47.20.35, 47.20.32","11912-3, 47.20.34, 47.20.44, 47.20.148","1651, 47.20.235, 47.20.217, 47.20.222","4471, 47.20.214","490M, 47.20.32, 47.20.33","490M-6, 47.20.32","491M-19, 47.20.36, 47.20.231","491M-29, 47.20.148, 47.20.46","544M, 47.20.222, 47.20.217","7852M-10, 47.20.126","7852M-12, 47.20.34, 47.20.17, 47.20.18","7853M-4, 47.20.34, 47.20.32, 47.20.148, 47.20.46","The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","English \n.    "],"unitid_tesim":["SC-07","/repositories/2/resources/8"],"normalized_title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray"],"creator_corpname_ssim":["Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creators_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art objects, Russian","Easter eggs","Fabergé eggs"],"access_subjects_ssm":["Art objects, Russian","Easter eggs","Fabergé eggs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"extent_tesim":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"physfacet_tesim":["723 items"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e\n","\u003cp\u003eDigitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/lillian-thomas-pratt-personal-papers-sc-07/\"\u003eVMFA Collections Search website\u003c/a\u003e. \u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . "],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSchaffer Collection, 1934-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHammer Galleries, 1933-1945, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eEstate, 1932-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eClippings, 1932-1937, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMuseum Records, 1936-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated"],"bibliography_html_tesm":["\u003cbibref\u003eThe Fall of the Romanoffs: How the Ex-Empress \u0026amp; Rasputine Caused the Russian Revolution, 1917\u003c/bibref\u003e","\u003cbibref\u003eConfessions of the Czarina, 1918\u003c/bibref\u003e","\u003cbibref\u003eMother Dear: The Empress Marie of Russia and Her Times, 1926\u003c/bibref\u003e","\u003cbibref\u003eThe Tragic Bride: The Story of the Empress Alexandra of Russia, 1927\u003c/bibref\u003e","\u003cbibref\u003eThe Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Intimate Life of the Last Tzarina, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931\u003c/bibref\u003e","\u003cbibref\u003eRussia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931\u003c/bibref\u003e","\u003cbibref\u003eEducation of a Princess: A Memoir, 1931\u003c/bibref\u003e","\u003cbibref\u003eA Princess in Exile, 1932\u003c/bibref\u003e","\u003cbibref\u003eTwice Seven, 1937\u003c/bibref\u003e","\u003cbibref\u003eRussian Imperial Treasures: Collection of Lillian T. Pratt, undated\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940\u003c/bibref\u003e","\u003cbibref\u003eHandbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960\u003c/bibref\u003e","\u003cbibref\u003eFabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976\u003c/bibref\u003e","\u003cbibref\u003eFabergé: Virginia Museum of Fine Arts, 1995\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed: At the Virginia Museum of Fine Arts, 2011\u003c/bibref\u003e","\u003cbibref\u003eLillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996\u003c/bibref\u003e","\u003cbibref\u003eSelections from the Lillian Thomas Pratt Collection of Jewels, 1947\u003c/bibref\u003e","\u003cbibref\u003e12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1949\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1950\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1951\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1952\u003c/bibref\u003e","\u003cbibref\u003eJewelry by Fabergé, 1953\u003c/bibref\u003e","\u003cbibref\u003eJewels by Fabergé, 1954\u003c/bibref\u003e","\u003cbibref\u003eFabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed, 2011\u003c/bibref\u003e","\u003cbibref\u003eVMFA Collections: Decorative Arts: Metalwork: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVMFA Donors: Pratt, John Lee and Lillian Thomas\u003c/bibref\u003e","\u003cbibref\u003eVMFA Gallery Design: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pratt's Personal Library","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Video","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia"],"bibliography_tesim":["The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)"],"bioghist_html_tesm":["\u003cp\u003eTwo months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.\u003c/p\u003e\n","\u003cp\u003ePratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=6519%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER\"\u003eFabergé: Virginia Museum of Fine 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Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. 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Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eWide World Photos, Inc. (NY-33541), Copyright 1937.\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","Ge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Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities."],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives."],"processinfo_html_tesm":["\u003cp\u003eA large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. 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The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: 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Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. "],"abstract_html_tesm":["\u003cabstract id=\"aspace_fb5f9a7488efeca094913bc14bf01383\"\u003eThe collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer."],"names_coll_ssim":["Fabergé (Firm)","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections"],"names_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"language_ssim":["English \n.    "],"total_component_count_is":762,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:30:55.910Z","scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.\u003c/p\u003e\n","\u003cp\u003eThe invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. \u003c/p\u003e\n","\u003cp\u003eI have received your note and also the book, and am sorry that you have had this unpleasantness.\u003c/p\u003e\n","\u003cp\u003eI hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, \u003c/p\u003e\n","\u003cp\u003eYours very sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.\u003c/p\u003e\n","\u003cp\u003eI will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.\u003c/p\u003e\n","\u003cp\u003eOr maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.\u003c/p\u003e\n","\u003cp\u003eI am sorry you had to be annoyed paying\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethe freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.\u003c/p\u003e\n","\u003cp\u003eWith best wishes and kindest regards, in which Mrs. Schaffer joins me, I am\u003c/p\u003e\n","\u003cp\u003eYours most sincerely, \nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. \u003c/p\u003e\n","\u003cp\u003eSorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.\u003c/p\u003e\n","\u003cp\u003eI have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. \u003c/p\u003e\n","\u003cp\u003eOn second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see \u003c/p\u003e\n","\u003cp\u003e(over please)\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003eyour things, and at the same time I could measure the egg.\u003c/p\u003e\n","\u003cp\u003eI think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. \u003c/p\u003e\n","\u003cp\u003eThe heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. \u003c/p\u003e\n","\u003cp\u003eHoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexanders S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eJust a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. \u003c/p\u003e\n","\u003cp\u003eSo far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.\u003c/p\u003e\n","\u003cp\u003eBelieve it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. \u003c/p\u003e\n","\u003cp\u003eI would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. \u003c/p\u003e\n","\u003cp\u003eRegarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. \u003c/p\u003e\n","\u003cp\u003eI could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for \u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethis, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, and love from the family, \u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.\u003c/p\u003e\n","\u003cp\u003eI am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.\u003c/p\u003e\n","\u003cp\u003eI am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eIt was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.\u003c/p\u003e\n","\u003cp\u003eIf I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.\u003c/p\u003e\n","\u003cp\u003eMrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and wishes for your speedy recovery,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \u003c/p\u003e\n","\u003cp\u003eTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt, \u003c/p\u003e\n","\u003cp\u003eIt is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. \u003c/p\u003e\n","\u003cp\u003eI am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. \u003c/p\u003e\n","\u003cp\u003eI am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eSeptember 1, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter and check which I have received today.\u003c/p\u003e\n","\u003cp\u003eI was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.\u003c/p\u003e\n","\u003cp\u003eThe raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.\u003c/p\u003e\n","\u003cp\u003eHowever, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.\u003c/p\u003e\n","\u003cp\u003eI am looking forward to seeing you soon.  With kindest regards and best wishes, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eOctober 7, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eWe are very much relieved that you have found the box.  I would have felt miserable otherwise.\u003c/p\u003e\n","\u003cp\u003eI am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.\u003c/p\u003e\n","\u003cp\u003eI hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eP.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eMay 11, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia \u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.\u003c/p\u003e\n","\u003cp\u003eI am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.\u003c/p\u003e\n","\u003cp\u003eI sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.\u003c/p\u003e\n","\u003cp\u003eOf course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.\u003c/p\u003e\n","\u003cp\u003eLooking forward to the pleasure of seeing you soon, with kindest regards, I am\u003c/p\u003e\n","\u003cp\u003eVery sincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: Telephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eAugust 1, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eI was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. \u003c/p\u003e\n","\u003cp\u003eIt is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. \u003c/p\u003e\n","\u003cp\u003eWe are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer \n[signature]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eNovember 2, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.\u003c/p\u003e\n","\u003cp\u003eHave you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.\u003c/p\u003e\n","\u003cp\u003ePaul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.\u003c/p\u003e\n","\u003cp\u003eI hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 15, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.\u003c/p\u003e\n","\u003cp\u003eI am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.\u003c/p\u003e\n","\u003cp\u003eThe silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\nP. S.  The parchment just arrived.  Thank you.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 30, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!\u003c/p\u003e\n","\u003cp\u003eWe both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.\u003c/p\u003e\n","\u003cp\u003eWe do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).\u003c/p\u003e\n","\u003cp\u003eWith kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003e\nNovember 21, 1945\u003c/p\u003e\n","\u003cp\u003eMrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.\u003c/p\u003e\n","\u003cp\u003eI am enclosing a receipt for them.  They all arrived in good condition including the flower.\u003c/p\u003e\n","\u003cp\u003eRegarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.\u003c/p\u003e\n","\u003cp\u003eI am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nCordially yours,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eENC.\nASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003eJune 4, 1946\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003eThe man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.\u003c/p\u003e\n","\u003cp\u003eHe claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.\u003c/p\u003e\n","\u003cp\u003ePlease do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nSincerely,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York\u003c/p\u003e\n","\u003cp\u003eFebruary 3, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your very kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWell, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.\u003c/p\u003e\n","\u003cp\u003eAlex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.\u003c/p\u003e\n","\u003cp\u003eThe children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.\u003c/p\u003e\n","\u003cp\u003eI hope that we'll be seeing you soon.\u003c/p\u003e\n","\u003cp\u003ePeter and Paul send their love, as do I.\u003c/p\u003e\n","\u003cp\u003eSincerely,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.\u003c/p\u003e\n","\u003cp\u003eApril 24, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you very much for your check and letter.  I do appreciate it.\u003c/p\u003e\n","\u003cp\u003eMy husband just went away for a few days to recuperate, as he is still not up to par.\u003c/p\u003e\n","\u003cp\u003eYes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eCordially,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eJuly 5, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your nice letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!\u003c/p\u003e\n","\u003cp\u003eThe children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.\u003c/p\u003e\n","\u003cp\u003eI hope you are taking good care of yourself and keeping well.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eRay Schaffer\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eCopy\u003c/p\u003e\n","\u003cp\u003eDec. 4th '45\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Schaffer – \u003c/p\u003e\n","\u003cp\u003eHerewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.\u003c/p\u003e\n","\u003cp\u003eTell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.\u003c/p\u003e\n","\u003cp\u003eKindest regards, Sincerely yours,\u003c/p\u003e\n","\u003cp\u003e(Signed) Lillian T. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffe [ripped]\n15 West 50th Street [ripped]\u003c/p\u003e\n","\u003cp\u003eCenter Publications, Inc. \nNEW YORK N Y\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\u003c/p\u003e\n","\u003cp\u003eA most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. \u003c/p\u003e\n","\u003cp\u003eThese eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2443\u003c/p\u003e\n","\u003cp\u003eGolden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.\u003c/p\u003e\n","\u003cp\u003eThis very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN. L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026amp; Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\u003c/p\u003e\n","\u003cp\u003eGOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eThis series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).\u003c/p\u003e\n","\u003cp\u003ePrice tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.\u003c/p\u003e\n","\u003cp\u003eFinally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.\u003c/p\u003e\n","\u003cp\u003eFrom the Collection in the Winter Palace, St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg \nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809\u003c/p\u003e\n","\u003cp\u003eSet of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nHotel McAlpin\nNew York, New York\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.\u003c/p\u003e\n","\u003cp\u003eFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528\u003c/p\u003e\n","\u003cp\u003eAn icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111\u003c/p\u003e\n","\u003cp\u003eA jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.\u003c/p\u003e\n","\u003cp\u003eIt is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019\u003c/p\u003e\n","\u003cp\u003eA jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.\u003c/p\u003e\n","\u003cp\u003eThe box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148\u003c/p\u003e\n","\u003cp\u003eA brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.\u003c/p\u003e\n","\u003cp\u003eIt was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C\u003c/p\u003e\n","\u003cp\u003eA porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.\u003c/p\u003e\n","\u003cp\u003eThe Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \u003c/p\u003e\n","\u003cp\u003eArticle No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62\u003c/p\u003e\n","\u003cp\u003eRare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMarch 6th, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nEaster, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. \u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nAugust 17, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/2\u003c/p\u003e\n","\u003cp\u003eGold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.\u003c/p\u003e\n","\u003cp\u003eIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 29th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nFebruary 8th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay 11th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eLillian T. Pratt\nChristmas, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026amp; Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\u003c/p\u003e\n","\u003cp\u003eLOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.\u003c/p\u003e","\u003cp\u003eTranscription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677\u003c/p\u003e","\u003cp\u003eTranscription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136\u003c/p\u003e","\u003cp\u003eTranscription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -\u003c/p\u003e","\u003cp\u003eTranscription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39\u003c/p\u003e","\u003cp\u003eThis series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 149322\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 159619\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00\u003c/p\u003e","\u003cp\u003eTranscription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026amp; Co.\nFifth Avenue New York\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]\u003c/p\u003e\n","\u003cp\u003e45 00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026amp; Co.\nNew York\u003c/p\u003e\n","\u003cp\u003e[Back]\nB. Altman \u0026amp; Co. New York\n60\n25.00\nOver Treasure Trove tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026amp; Co. New York tag \n45.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026amp; Co. New York\n50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026amp; SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag, Sale\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag [$45.00?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026amp; Col. New York\n[Back] Altman Lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026amp; Co. New York\n[Back] Altman lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52A\nM 98\nB. ALTMAN \u0026amp; CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52-A\nB. ALTMAN \u0026amp; CO.\nS 93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nS93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA4 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nW5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52-A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026amp; Co.\nNew York\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026amp; Co.\nNew York\n[R829 written over company name at bottom]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026amp; Bohemian Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNew York\n165.00 [lined through]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Miller \u0026amp; Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026amp; J. Sloane\n47th \u0026amp; 5th Ave\nN. Y. City\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026amp; Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height\u003c/p\u003e","\u003cp\u003eTranscription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026amp; CO.\nPHILADELPHIA\u003c/p\u003e","\u003cp\u003eTranscription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026amp; E. Wakelin\u003c/p\u003e","\u003cp\u003eTranscription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W\u003c/p\u003e","\u003cp\u003eTranscription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9\u003c/p\u003e","\u003cp\u003eTranscription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026amp; Richard\nSibley\nRRM\u003c/p\u003e","\u003cp\u003eTranscription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427\u003c/p\u003e","\u003cp\u003eTranscription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n10679\nGeo. III\n[lion \u0026amp; unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER\u003c/p\u003e","\u003cp\u003eTranscription: \n2002\n$20.00 (b)\nGeorgian\nMA\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R\u003c/p\u003e","\u003cp\u003eTranscription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32\u003c/p\u003e","\u003cp\u003eTranscription: \nS. \u0026amp; G. GUMP CO.\nSAN FRANCISCO, CAL.\u003c/p\u003e\n","\u003cp\u003eAntique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.\u003c/p\u003e\n","\u003cp\u003eS. \u0026amp; G. GUMP COMPANY\u003c/p\u003e","\u003cp\u003eThis series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.\u003c/p\u003e","\u003cp\u003eTranscription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures\u003c/p\u003e\n","\u003cp\u003eThis remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. \u003c/p\u003e\n","\u003cp\u003eAll Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware\u003c/p\u003e\n","\u003cp\u003eFIFTH FLOOR\u003c/p\u003e\n","\u003cp\u003eThalhimers\u003c/p\u003e","\u003cp\u003eTranscription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel\u003c/p\u003e\n","\u003cp\u003ePart of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention\u003c/p\u003e\n","\u003cp\u003eCzarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. \u003c/p\u003e\n","\u003cp\u003eWhen brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026amp; Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]\u003c/p\u003e","\u003cp\u003eThis series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.\u003c/p\u003e","\u003cp\u003eDescription: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".\u003c/p\u003e","\u003cp\u003eDescription: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.\u003c/p\u003e","\u003cp\u003eDescription: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.\u003c/p\u003e","\u003cp\u003eDescription: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.\u003c/p\u003e","\u003cp\u003eTranscription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY\u003c/p\u003e\n","\u003cp\u003eTO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]\u003c/p\u003e\n","\u003cp\u003ePhotographs - Do Not Bend\u003c/p\u003e","\u003cp\u003eDescription: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eDescription: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.\u003c/p\u003e","\u003cp\u003eTranscription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.\u003c/p\u003e\n","\u003cp\u003e1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003e[Hand drawn and numbered outlines of the heads of all the people in the photograph]\u003c/p\u003e\n","\u003cp\u003e14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.\u003c/p\u003e","\u003cp\u003eDescription: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e"]}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c02_c01_c01_c02"}},{"id":"virmu_repositories_2_resources_198","type":"collection","attributes":{"title":"John Barton Payne Personal Papers (SC-31)","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198#creator","type":"document_value","attributes":{"value":"Payne, John Barton, 1855-1935‏","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_198","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_198.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/198","title_filing_ssi":"Payne, John Barton (SC-31)","title_ssm":["John Barton Payne Personal Papers (SC-31)"],"title_tesim":["John Barton Payne Personal Papers (SC-31)"],"unitdate_ssm":["1881-1938, undated"],"unitdate_inclusive_ssm":["1881-1938, undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-31","/repositories/2/resources/198"],"text":["SC-31","/repositories/2/resources/198","John Barton Payne Personal Papers (SC-31)","Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)","Alaskan Engineering Commission","The collection is open for research. The digital collection can be accessed through the  VMFA Collections Search website .","The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1 Correspondence, 1904-1938, undated Series 2 Published Materials, 1881-1926, undated Series 3 Travel Documents, 1919 Series 4 Photographic Materials, 1920, undated Series 5 Financial Documents, 1934-1935","John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)"," Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)","On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art","The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.","The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series includes Payne's United States Railroad Administration rail pass (\"Number 6\") from 1919.","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains financial documents pertaining to John Barton Payne's estate.","Series level description: This series contains financial documents pertaining to John Barton Payne's estate.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","English \n.    "],"unitid_tesim":["SC-31","/repositories/2/resources/198"],"normalized_title_ssm":["John Barton Payne Personal Papers (SC-31)"],"collection_title_tesim":["John Barton Payne Personal Papers (SC-31)"],"collection_ssim":["John Barton Payne Personal Papers (SC-31)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"geogname_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"creator_ssm":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creators_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"places_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Alaskan Engineering Commission"],"access_subjects_ssm":["Alaskan Engineering Commission"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"extent_tesim":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/wp-subsite/archives/john-barton-payne-personal-papers-sc-31/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the  VMFA Collections Search website ."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1904-1938, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublished Materials, 1881-1926, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eTravel Documents, 1919\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotographic Materials, 1920, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eFinancial Documents, 1934-1935\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1 Correspondence, 1904-1938, undated Series 2 Published Materials, 1881-1926, undated Series 3 Travel Documents, 1919 Series 4 Photographic Materials, 1920, undated Series 5 Financial Documents, 1934-1935"],"bibliography_html_tesm":["\u003cbibref\u003eJohn Barton Payne : Patron of the Arts, 1994\u003c/bibref\u003e","\u003cbibref\u003eCatalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935\u003c/bibref\u003e","\u003cbibref\u003eMemorial Number to John Barton Payne, 1935\u003c/bibref\u003e","\u003cbibref\u003eAn Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931\u003c/bibref\u003e","\u003cbibref\u003eThe John Barton Payne Collection of Paintings, 1926\u003c/bibref\u003e","\u003cbibref\u003eCatalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921\u003c/bibref\u003e","\u003cbibref\u003eExhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936\u003c/bibref\u003e","\u003cbibref\u003eDonors: Payne, John Barton\u003c/bibref\u003e","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)\u003c/bibref\u003e","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)\u003c/bibref\u003e","\u003cbibref\u003eVirginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)\u003c/bibref\u003e","\u003cbibref\u003e Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)\u003c/bibref\u003e","\u003cbibref\u003eJohn Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)\u003c/bibref\u003e","\u003cbibref\u003eRecords of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)"," Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)"],"bioghist_html_tesm":["\u003cp\u003eOn January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.\u003c/p\u003e\n","\u003cp\u003ePayne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.\u003c/p\u003e\n","\u003cp\u003eBy 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.\u003c/p\u003e\n","\u003cp\u003eIn December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.\u003c/p\u003e\n","\u003cp\u003ePayne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.\u003c/p\u003e\n","\u003cp\u003e\u003ci\u003eText by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art\u003c/i\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Collections Department in 2018. 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VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). 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VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. 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The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series includes Payne's United States Railroad Administration rail pass (\"Number 6\") from 1919.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains financial documents pertaining to John Barton Payne's estate.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains financial documents pertaining to John Barton Payne's estate.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series includes Payne's United States Railroad Administration rail pass (\"Number 6\") from 1919.","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains financial documents pertaining to John Barton Payne's estate.","Series level description: This series contains financial documents pertaining to John Barton Payne's estate."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. 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Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"abstract_html_tesm":["\u003cabstract id=\"aspace_67f65ca4a64a065147655bbf84e53a71\"\u003eThe collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).\u003c/abstract\u003e"],"abstract_tesim":["The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC)."],"names_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"names_coll_ssim":["Payne, John Barton, 1855-1935‏"],"persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"language_ssim":["English \n.    "],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:43:00.006Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_198","ead_ssi":"virmu_repositories_2_resources_198","_root_":"virmu_repositories_2_resources_198","_nest_parent_":"virmu_repositories_2_resources_198","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_198.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/198","title_filing_ssi":"Payne, John Barton (SC-31)","title_ssm":["John Barton Payne Personal Papers (SC-31)"],"title_tesim":["John Barton Payne Personal Papers (SC-31)"],"unitdate_ssm":["1881-1938, undated"],"unitdate_inclusive_ssm":["1881-1938, undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-31","/repositories/2/resources/198"],"text":["SC-31","/repositories/2/resources/198","John Barton Payne Personal Papers (SC-31)","Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)","Alaskan Engineering Commission","The collection is open for research. The digital collection can be accessed through the  VMFA Collections Search website .","The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1 Correspondence, 1904-1938, undated Series 2 Published Materials, 1881-1926, undated Series 3 Travel Documents, 1919 Series 4 Photographic Materials, 1920, undated Series 5 Financial Documents, 1934-1935","John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)"," Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)","On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art","The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.","The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series includes Payne's United States Railroad Administration rail pass (\"Number 6\") from 1919.","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains financial documents pertaining to John Barton Payne's estate.","Series level description: This series contains financial documents pertaining to John Barton Payne's estate.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).","Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928","English \n.    "],"unitid_tesim":["SC-31","/repositories/2/resources/198"],"normalized_title_ssm":["John Barton Payne Personal Papers (SC-31)"],"collection_title_tesim":["John Barton Payne Personal Papers (SC-31)"],"collection_ssim":["John Barton Payne Personal Papers (SC-31)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"geogname_ssm":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"geogname_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"creator_ssm":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creator_persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"creators_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931"],"places_ssim":["Yellowstone National Park (Agency : U.S.)","Washburn, Mount (Wyo.)","Seattle (Wash.)","Washington (D.C.)","St. Louis (Mo.)","Chicago (Ill.)","Richmond (Va.)","New York (N.Y.)","Charlottesville (Va.)","York Harbor (Me.)"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Alaskan Engineering Commission"],"access_subjects_ssm":["Alaskan Engineering Commission"],"has_online_content_ssim":["false"],"extent_ssm":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"extent_tesim":["0.4 Linear Feet 1 box; 10 folders; 73 items"],"date_range_isim":[1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/wp-subsite/archives/john-barton-payne-personal-papers-sc-31/\"\u003eVMFA Collections Search website\u003c/a\u003e.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research. The digital collection can be accessed through the  VMFA Collections Search website ."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1904-1938, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003ePublished Materials, 1881-1926, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eTravel Documents, 1919\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePhotographic Materials, 1920, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eFinancial Documents, 1934-1935\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Items with no date are generally placed at the end at each series.","Series 1 Correspondence, 1904-1938, undated Series 2 Published Materials, 1881-1926, undated Series 3 Travel Documents, 1919 Series 4 Photographic Materials, 1920, undated Series 5 Financial Documents, 1934-1935"],"bibliography_html_tesm":["\u003cbibref\u003eJohn Barton Payne : Patron of the Arts, 1994\u003c/bibref\u003e","\u003cbibref\u003eCatalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935\u003c/bibref\u003e","\u003cbibref\u003eMemorial Number to John Barton Payne, 1935\u003c/bibref\u003e","\u003cbibref\u003eAn Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931\u003c/bibref\u003e","\u003cbibref\u003eThe John Barton Payne Collection of Paintings, 1926\u003c/bibref\u003e","\u003cbibref\u003eCatalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921\u003c/bibref\u003e","\u003cbibref\u003eExhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936\u003c/bibref\u003e","\u003cbibref\u003eDonors: Payne, John Barton\u003c/bibref\u003e","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)\u003c/bibref\u003e","\u003cbibref\u003eHistory: Early History of Museum: John Barton Payne\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)\u003c/bibref\u003e","\u003cbibref\u003eVirginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)\u003c/bibref\u003e","\u003cbibref\u003e Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)\u003c/bibref\u003e","\u003cbibref\u003eJohn Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)\u003c/bibref\u003e","\u003cbibref\u003eRecords of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["John Barton Payne : Patron of the Arts, 1994","Catalogue of the Judge John Barton Payne Sale: Rare and Valuable Household Adornments, Important Paintings, Diamond and Other Jewelry, Antique Silver, etc. at Public Auction, 1935","Memorial Number to John Barton Payne, 1935","An Address at the Unveiling of the Bust of Woodrow Wilson: Hall of the House of Delegates, State Capitol, Richmond, Virginia, 1931","The John Barton Payne Collection of Paintings, 1926","Catalogue of the Paintings in the John Barton Payne Collection: Given in Memory of his Wife and Mother to the Commonwealth of Virginia, 1921","Exhibition file : John Barton Payne Collection of Paintings and Prints, Mar. 6-Apr. 25, 1936","Donors: Payne, John Barton","History: Early History of Museum: John Barton Payne and John Garland Pollard Correspondence about Planning the Museum (2 folders)","History: Early History of Museum: John Barton Payne","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Accession 33863)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Accession 31633)","Virginia. Governor (1930-1934 : Pollard), Executive Papers, 1930-1934 (Accession 23344a)"," Virginia. Governor (1934-1938 : Peery), Executive Papers, 1934-1938 (Accession 23344b)","John Barton Payne Papers, Special Collections Research Center, Swem Library, College of William and Mary (01/Mss. 39.1 P29)","Records of the American National Red Cross, 1881-2008, National Archives and Records Administration (5896716)"],"bioghist_html_tesm":["\u003cp\u003eOn January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.\u003c/p\u003e\n","\u003cp\u003ePayne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.\u003c/p\u003e\n","\u003cp\u003eBy 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.\u003c/p\u003e\n","\u003cp\u003eIn December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.\u003c/p\u003e\n","\u003cp\u003ePayne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.\u003c/p\u003e\n","\u003cp\u003e\u003ci\u003eText by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art\u003c/i\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["On January 16, 1936, the Virginia Museum of Fine Arts opened its doors for the first time. The occasion marked the culmination of more than sixteen years of effort that began in December 1919 with a gift of 51 artworks from Judge John Barton Payne. In spite of the Great Depression, Virginia Governor John Garland Pollard secured the support to meet Payne's $100,000 challenge grant, and the two men established the first state-run art museum in the United States.","Payne was born in Pruntytown, Virginia, in 1855, where his father, Dr. Amos Payne, had taken his family to establish a medical practice. In 1860, the family returned to the Payne homestead – a farm in Fauquier County, Virginia – and it was here that Payne spent his formative years. Payne taught himself law by reading each volume, one by one, of Blackstone's Commentaries and began his career as a lawyer in 1876, at age 21, when he was admitted to the Bar. In 1883, having completed his mayoral tenure in Kingwood, West Virginia, he moved to Chicago and attained considerable influence as a lawyer, judge, and philanthropist. He also started collecting art. Payne was engaged with the preeminent Art Institute of Chicago on a number of different levels, and it likely framed his idea of what an art museum should be – an educational and collecting institution for the benefit of the public.","By 1914, with the outbreak of World War I, Payne was appointed to the U.S. Treasury Board of Appeals, serving as general counsel for both the Shipping Board Emergency Fleet Corporation and the United States Railroad Administration. His principal role was as an arbitrator – a peace-keeper – during Wilson's and subsequent administrations. When World War I ended in 1918, Payne spent the next year helping to negotiate the nuances and politics of peace as the recently appointed Secretary of the Interior. He resigned his position in 1921 so that he could serve as chairman of the American Red Cross. Payne served at the helm of the Red Cross under four administrations, and until the end of his life.","In December of 1919, following the death of his second wife, Jennie Byrd Bryan Payne – who was an artist in her own right – and in honor of his mother, Elizabeth Barton Smith, Payne wrote to Virginia Governor Westmoreland Davis offering his collection of paintings to \"his mother,\" the Commonwealth of Virginia. The offer was passed by the Virginia legislature on February 20, 1920. To realize his vision, in 1932, Payne offered the Commonwealth a matching grant of $100,000 to construct an art museum. Incredibly, despite the Depression, Governor Pollard was able to match the grant. Construction took place between 1934 and 1936, and Payne and Pollard served consecutively as the institution's first and second presidents. But it was Payne's vision that established the museum's mission and set the course for the next century: a public-private partnership—the first state-run art museum in the United States; a collection based entirely of private philanthropy; and a community of people from every walk of life.","Payne died in 1935, a year before the museum opened from pneumonia contracted following an appendicitis attack and he was buried at Oak Hill Cemetery in Washington, D.C.","Text by Dr. Susan J. Rawles, Associate Curator of American Painting and Decorative Art"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Collections Department in 2018. The archives received a donation from John Payne, a descendant of John Barton Payne, on September 30, 2022. The donation was added to the collection in 2023."],"prefercite_html_tesm":["\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eJohn Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia.","John Barton Payne Personal Papers (SC-31). VMFA Archives, Richmond, Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.\u003c/p\u003e","\u003cp\u003eSeries level description: This series includes Payne's United States Railroad Administration rail pass (\"Number 6\") from 1919.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains financial documents pertaining to John Barton Payne's estate.\u003c/p\u003e","\u003cp\u003eSeries level description: This series contains financial documents pertaining to John Barton Payne's estate.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["The collection's inclusive dates are 1881-1938, with the bulk of the material dating from 1904-1932. The digital collection is comprised of correspondence, lyrics, newspaper clippings, photographs, and travel documents.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series contains Payne's professional correspondence, including letters from President Woodrow Wilson, invitations, and one Christmas Card. The majority of the correspondence is from Federal Agencies including: The White House, United States Senate, The House of Representatives, and The Post Master General. Correspondence also includes letters from Payne's former employer, as well as letters of thanks, and requests from private entities.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series consists of copies of etchings, newspaper clippings, a poem, and song lyrics.","Series level description: This series includes Payne's United States Railroad Administration rail pass (\"Number 6\") from 1919.","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains prints from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park. This series also includes Payne's photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC). Most of the photographs in the album are attributed to \"HGK.\"","Series level description: This series contains financial documents pertaining to John Barton Payne's estate.","Series level description: This series contains financial documents pertaining to John Barton Payne's estate."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. 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Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/vocab/InC/1.0/","In Copyright: http://rightsstatements.org/vocab/InC/1.0/"],"abstract_html_tesm":["\u003cabstract id=\"aspace_67f65ca4a64a065147655bbf84e53a71\"\u003eThe collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC).\u003c/abstract\u003e"],"abstract_tesim":["The collection documents parts of John Barton Payne's varied professional career. It contains correspondence, including letters from President Woodrow Wilson and federal agencies including the White House, Senate, House of Representatives, and Postmaster General, as well letters from Payne's former employer, invitations, letters of thanks, and requests from private entities. The collection also contains photographs from trips that Payne took during his tenure as Secretary of the Interior, most of which were taken at Mt. Washburn in Yellowstone National Park, but also a photo album from a trip to Alaska as part of the Alaskan Engineering Commission (AEC)."],"names_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration","Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","St. Louis star","Washington post (Washington, D.C. : 1974)","United States. Federal Railroad Administration"],"names_coll_ssim":["Payne, John Barton, 1855-1935‏"],"persname_ssim":["Payne, John Barton, 1855-1935‏","Wilson, Woodrow, 1856-1924","Wilson, Edith Bolling Galt, 1872-1961","Daniels, Josephus, 1862-1948","McAdoo, W. G. (William Gibbs), 1863-1941","Alderman, Edwin Anderson, 1861-1931","Pollard, John Garland, 1871-1937","Baker, Newton Diehl, 1871-1937","Fall, Albert B. (Albert Bacon), 1861-1944","Crane, Frank, 1861-1928"],"language_ssim":["English \n.    "],"total_component_count_is":88,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:43:00.006Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_198"}},{"id":"virmu_repositories_2_resources_44_c01_c01_c1917","type":"File","attributes":{"title":"K: General","breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_44_c01_c01_c1917#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_44_c01_c01_c1917","ref_ssm":["virmu_repositories_2_resources_44_c01_c01_c1917"],"id":"virmu_repositories_2_resources_44_c01_c01_c1917","ead_ssi":"virmu_repositories_2_resources_44","_root_":"virmu_repositories_2_resources_44","_nest_parent_":"virmu_repositories_2_resources_44_c01_c01","parent_ssi":"virmu_repositories_2_resources_44_c01_c01","parent_ssim":["virmu_repositories_2_resources_44","virmu_repositories_2_resources_44_c01","virmu_repositories_2_resources_44_c01_c01"],"parent_ids_ssim":["virmu_repositories_2_resources_44","virmu_repositories_2_resources_44_c01","virmu_repositories_2_resources_44_c01_c01"],"parent_unittitles_ssm":["Director's Correspondence (RG-01)","Series 1: Director's Correspondence","Series 1.1: Early Directors"],"parent_unittitles_tesim":["Director's Correspondence (RG-01)","Series 1: Director's Correspondence","Series 1.1: Early Directors"],"text":["Director's Correspondence (RG-01)","Series 1: Director's Correspondence","Series 1.1: Early Directors","K: General","box 33863 Box 39","folder 20","Item RG01.01.1.1917"],"title_filing_ssi":"K: General","title_ssm":["K: General"],"title_tesim":["K: General"],"unitdate_other_ssim":["1933-1939"],"normalized_date_ssm":["1933/1939"],"normalized_title_ssm":["K: General"],"component_level_isim":[3],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Director's Correspondence (RG-01)"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":1919,"parent_access_restrict_tesm":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance. ","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809)."],"parent_access_terms_tesm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"date_range_isim":[1933,1934,1935,1936,1937,1938,1939],"containers_ssim":["box 33863 Box 39","folder 20","Item RG01.01.1.1917"],"_nest_path_":"/components#0/components#0/components#1916","timestamp":"2026-05-21T03:29:10.278Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_44","ead_ssi":"virmu_repositories_2_resources_44","_root_":"virmu_repositories_2_resources_44","_nest_parent_":"virmu_repositories_2_resources_44","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_44.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/44","title_filing_ssi":"Director's Correspondence (RG-01)","title_ssm":["Director's Correspondence (RG-01)"],"title_tesim":["Director's Correspondence (RG-01)"],"unitdate_ssm":["1927-2009"],"unitdate_inclusive_ssm":["1927-2009"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RG-01","/repositories/2/resources/44"],"text":["RG-01","/repositories/2/resources/44","Director's Correspondence (RG-01)","The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance. ","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809).","\"Museum in Action\" was reformatted and is available on YouTube:  https://www.youtube.com/watch?v=03tQlnoFx0A\u0026t=1s","The collection is organized into six series, and items are generally arranged alphabetically within series 1-2. Series 3-6 are generally arranged chronologically.","Series 1 Director's Correspondence, 1927-2006 Series 2 Director's Office Staff, 1977-2008 Series 3 Building Files, 1979-2004 Series 4 Organization Files, 1991-2006 Series 5 Meeting Files, 1998-2009 Series 6 Program Files, 1992-2007","The collection was transferred from the Director's Office through periodic deposits since 1989. The bulk of the Early Director's Correspondence (Series 1.1) was deposited at to the Library of Virginia in 1982, where it remained until November 2022 when it was returned to VMFA.","Between June 17-September 10, 2023, the Fellowship Application and associated photograph of Wigfall were placed in the exhibition \"Benjamin Wigfall \u0026 Communications Village.\"","Between June 17-September 10, 2023, the recommendation letter from Leo Katz was placed in the exhibition \"Benjamin Wigfall \u0026 Communications Village.\"","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","Series 1.1 was processed by State Records Archivist Laura Drake Davis from 2006-2008 while it was still deposited at the Library of Virginia. In 2023, Senior Archivist Courtney Tkacz integrated VMFA's holdings into that series and in the process, RG-01 Boxes 1-4 and LVA 33863 Boxes 60, 67, 74, and 89 were removed.  ","Select application materials were digitized with the identifier: RG01.01.1.33863.001","Select application materials were digitized with the identifier: RG01.01.1.33863.007","Select application materials were digitized with the identifier: RG01.01.1.33863.008","Select application materials were digitized with the identifier: RG01.01.1.33863.009","This series is comprised of correspondence of all of the various Directors of the museum. Files were arranged alphabetically by subject, and there is a lot of overlap between different Director's as the files often contained pertinent items from a predecessor. In the case of the first sub-series (1.1), until 1976, the entire museum's files were maintained centrally as one unit in the Director's Office.","This series includes the records of the first three Directors - Thomas C. Colt (1935-1948), Leslie Cheek, Jr. (1948-1968), and James M. Brown (1969-1976) - as well as the two Interim Co-Directors Beatrice von Keller and Violet McDougall Pollard (1942-1945). The bulk of this series was deposited at the Library of Virginia, therefore most of the items held at VMFA are copies that LVA returned to the museum.","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with individuals, institutions and corporations beginning with the letter 'A', note- two letters written to Josef Albers (no replies). Dates- 2/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding a copy of Gainsborough's \"Blue Boy\" in the collection of Van Clief of Esmont, Virginia.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters from private donors and dealers offering objects for sale and as gifts to the Museum when it was first started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and information about gifts and purchases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about items being considered for purchase and members of the committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes, and information on bequests and purchases. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- minutes of accessions committee meeting 1972, announcements and attendance for meetings 1973, acquisitions policy for bidding on works of art at auction, etc. Dates- 9/72-1/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- painted decorations of St. James church, putting this church on the Virginia section of the National Register. Dates- 4/68-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- departmental inventories of non-expandable assets of the Commonwealth of VA 1940-3, worksheets on individual art objects and Museum equipment, state regulations, etc. Dates- 6/43-11/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown and P. Near (Curator). Subject- correspondence about possible acquisitions, considerations of gifts, notes on possible acquisitions, etc., 10/70-4/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding the gift of Mrs. Charles Adams (Ann Fowlkes) of music albums 1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's appointment by the Governor to an advisory committee assisting the Dept. of Conservation and Economic Development in a study for a proposed museum of science, archaeology and natural history (to be located in Richmond), copy of Senate joint resolution no.26-to study the encouragement or establishment of a museum of science and natural history, list of committee members, Report of the Department of Conservation and Economic Development to the Governor and the General Assembly of Virginia Relative to the Establishment of a Museum of Science, Archaeology and Natural History in Richmond, 1965, etc. Dates- 5/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Excerpt from the Report of the Committee on Recreation to the Advisory Council on the VA Economy and A Summary of Major Recommendations that Involve Questions of State Policy by the Advisory Council on the VA Economy. Dates- 8/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- possible Museum acquisitions from the dealer. Dates- 4/53-5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Airfiltering System 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- correspondence and announcement for lecture by Ambassador Akar about Africa's unique cultural heritage, etc. Dates- 10/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek was a judge for their annual show. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with Albemarle Art Association President about discontinued affiliation with VMFA, biographical information on Cheek, introduction about Cheek for lecture at AAA, Cheek's remarks in honor of Horace Burr 1966, etc. Dates- 8/57-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with and biographical information about Josef Albers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- a letter to Albers (no reply). Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown Subject- correspondence with Director about appointment to board of Hon. George S. Aldhizer II, Education in the Arts and Honors and Awards Committee appointments, etc. Dates- 6/67-2/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Donor of several paintings to the Museum, 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek as speaker for \"The Alexandria Forum: Southern Decorative Arts 1750-1850\", exhibition loans to Alexandria Assoc., etc. Dates- 9/55-1/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Printed materials. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding annual meetings and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- AAM (American Association of Museums)annual meeting pamphlets 1955,'57,'58,'59'60,'61,'62,'65 and'68, proposed constitution and By-Laws 1961, roster of member institutions 1959, correspondence about AAM meeting in Williamsburg, etc. Dates- 10/60-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from AAM Directors. Subject- Minutes annual meeting 1969, membership reports 1969-70, Financial Statements 1969-70, agenda for AAM council meeting 1970, memos, etc. Dates- 8/69-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- info about AAM (American Association of Museums) seminar held in Richmond 1972, financial and membership reports 1972, minutes of exec. committee meeting 1972, news releases, letter from Richard Nixon to Mr. Brown as President of the AAM, mailings sent out by AAM, etc. Dates- 7/72-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about Cheek as Program Chairman for AAM (American Association of Museums) annual meeting in Williamsburg 1962, tentative agenda, schedule of events, attendance list, committee reports, program, etc. Dates- 5/59-1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- correspondence to American Art Association (AAM) section chairmen about annual meeting, program, schedule of events, etc. Dates- 9/60-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about arranging program for American Association of Museums (AAM) meeting, roster of section chairmen 1962, agenda for exec. committee meeting 1961, invitations sent to VMFA trustees for a reception (held at VMFA) to meet the delegates to AAM meeting, etc. Dates- 7/59-6/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- roster of AAM (American Association of Museums) section chairmen 1962, attendance and schedule for section meetings, etc. Dates- 1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lloyd Goodrich Lecturer. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek on advisory committee for the study of design and craftsmanship in today's products, roster of advisory committee, proposed exhibition, conference series, documentary and publication about design and craftsmanship, National Exhibition Project Committee meeting minutes 1950, etc. Dates- 3/49-4/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek on Board of organization. Contains memos, pamphlets, exhibition literature etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns L. Cheek's membership in the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- minutes of exec. committee meetings 1961, '62 and '65, roster of trustees, memos to trustees, correspondence about convention in Chicago, etc. Dates- 1/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. (trustee of AFA). Subject- information about circulating exhibitions, minutes of Exec. committee meetings 1966 and '67, minutes of trustee meetings 1966, '67 and '68, memos to trustees, etc. Dates- 1/60-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- American Federation of Arts (AFA) exec. committee meeting minutes 1967 and '68, correspondence about AFA delegates visit to VMFA 1969, roster of members and committee appointments, news releases 1968, President's annual report to AFA, etc. Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about Cheek as Convention Committee Chairman 1959, correspondence about potential committee members, program for convention, minutes of preliminary joint meeting of the AFA trustees 1958, minutes of trustees meeting 1959, Golden Anniversary Convention, The American Federation of Arts 1909-1959, congratulatory and appreciation letters to Cheek, etc. Dates- 3/58-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown Subject- AFA (American Federation of Arts) exec. committee meeting minutes 1959,'60,'61,'62 and'65, roster of board of trustees, trustee meeting minutes 1961 and '62, AFA constitution, National Council on the Arts and Government Annual Report 1960, etc. Dates- 3/61-1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with the American Institute of Architects. Dates- 4/47-1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek served as a juror for the Annual Homefurnishings Design Competition and was an honorary member, 1949-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- A.I.D. (American Institute of Designers) VA chapter yearbook 1961-2, listing of suggested museums for A.I.D. exhibition, etc. Dates-5/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown. Subject- dinner meeting for the AID (American Institute of Designers) (interior designers). Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz and Wm. Wilkinson (Mariners Museum). Subject- Loan requests, cost estimates, pamphlets and photographs. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz and Wm. Wilkinson\u003e Subject- First major survey of American Marine Painting in observance of the Bicentennial. Lists of paintings, installation, budget, etc. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains copies of lecture invitation and catalog. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown from ASA (American Society of Appraisers). Subject- Brown's membership in ASA, ASA news 1971-2, announcement of meeting 1971, etc. Dates- 10/70-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for gallery dinner at VMFA for American Society of Appraisers. Dates- 1/72-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Brown as Chairman of a committee on collections at Amherst College and member of Exec. Committee of the Association of Fine Arts, constitution and minutes of Association of Fine Arts meetings 1970 and '71, roster of members of the Association of Fine Arts, membership solicitation letter, catalogue: The Amherst Sesquicentennial Exhibition 1972, etc. Dates- 10/69-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. J.G. Pollard and Mr. Henry W. Anderson. Subject- meetings of the Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, a portrait of Anderson by VA artist, Julian Binford, etc. Dates- 6/35-11/44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Henry W. Anderson. Subject- Anderson's presidency of the Board of Trustees 1947, trustee and Museum business, Annual Board meeting minutes 1947-8, Museum events and daily operations, Museum investments and gifts to the Museum, a general study of the Museum's collections and suggested plan of development (1947), information about the land occupied by the Museum and its estimated future needs, etc. Dates- 6/47-6/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- President of the Board of Trustees. 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and L. Cheek, Jr. and Col. Henry W. Anderson. Subject- Anderson's presidency of the VMFA Board of Trustees, Museum events and daily operations, gifts to the Museum, investment of the Museum's A.D. Williams fund, listing of financial condition of endowment and special funds 1952-3, etc. Dates- 5/51-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for dinner honoring Mr.and Mrs. Walter P. Chrysler, guest lists, invitations, R.S.V.P.'s, etc. Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- final copies: VMFA 2nd Annual Report of the Director 7/1/36-6/15/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 7th Annual Report of the Director 7/1/41-5/1/42 and VMFA staff orders 1/42 elaborating the orders of 6/41 conduct of the Museum during an emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers, preliminary and final copies of The Report of the Acting Directors for the Year 1944-5, agenda for Executive committee meeting 6/44, breakdown of membership 1943-4, 1944-5 and working papers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- final copy VMFA Annual Report. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- preliminary and final copies VMFA Annual Report 1946-7 7/1/47-4/30/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- preliminary and final copy: VMFA Annual Report 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for the 1948-9 Annual Report, Report of the Executive Committee of the VMFA to the Board of Trustees (5/22/49) also a listing and attendance record of the Board of Trustees (5/27/49).  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for the 14th Annual Report, including operations budget, salaries and membership count, also a copy of VMFA Organic Laws (10/36). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- The 14th Annual Report of the Director (5/27/49) and its working papers, also correspondence about VMFA role in selecting and displaying portraits in the Governor's Mansion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- working papers for the annual report, listing of Cheek's activities (lectures, consultations, committee and jury duties). Dates- 1960-1. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual Reports for Collections and Gallery Divisions 1951-54, and for State Extension Services 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 1st Annual Financial Report of the Curator (4/13/35-6/15/36), VMFA 2nd Annual Report of the Director (7/1/36-6/15/37), VMFA 3rd Annual Report of the Director (7/1/37-6/1/38), VMFA 4th Annual Report of the Director (7/1/38-6/1/39), VMFA 5th Annual Report of the Director (7/1/39-5/1/40), VMFA 6th Annual Report of the Director (7/1/40-5/1/41). Dates- 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 7th Annual Report of the Director (7/1/41-5/1/42), VMFA 8th Annual Report by the Acting Directors (7/1/42-5/31/43), also, VMFA 9th Annual Report by the Acting Directors (7/1/43-5/31/44).  Dates- 1941-1944. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- the following reports: \"Remarks by Robert Marsh, Jr. before the Appropriations Committee of the General Assembly\" and \"Resume of the Request of the Trustees of the Virginia Museum of Fine Arts before the Appropriations Committee 2/64\" Dates- 2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual meeting of its Richmond Chapter at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and Ms. B. von Keller. Subject- biographical info, purchase of his painting Maggie, letters of introduction, personal references, loaning work to Museum, Va. artists exhibitions, counsel on museum operations, etc. Dates- 10/35-10/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed paperback guide to architecture in Virginia, roster of Editorial Advisory Board for guidebook, list of sites by counties and cities, etc., final list of buildings and sites, announcements and minutes of Nominating Committee meeting, etc. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- biographical information on H. Harvard Arnason, speaker on Henry Moore sculpture at VMFA, VMFA Members' Bulletin vol.26, no.2 10/65. Dates- 9/65-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- confirmation of meeting with State Art Commission to present plans to enlarge VMFA. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership roster, pamphlet of Art Dealers of America, Inc., etc. Dates- 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given at the VMFA by members of the staff of the Museum of Modern Art 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices, the following publication: Let's Make the Lions Roar: A Marketing Study of the Art Institute of Chicago by Edward J. Teply (Northwestern University 1959) Dates- 6/48-1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Potential jurors for biennial exhibitions 1970. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence and a listing of members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and art nouveau purchase plan. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Artificial flowers for decoration in galleries, 1964. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum program where artist-members participated in a life drawing class.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program sponsored by museum for artist members, included life drawing classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and memorandums. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and minutes from meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Project to try and send artmobiles overseas as suggested by the State Department. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence as to whether or not they would like to have the artmobile visit their school. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains plans, blueprints, and correspondence that occurred during its development.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Manufacturer of custom van bodies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Presidential Inauguration. Artmobile was State of Virginia's entry in President Johnson's inaugural parade, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed exhibition for the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Magic City Bank had an exhibit trailer, which was a prototype for artmobile.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations, programs and correspondence.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reprints of A.I.V. article \"Galleries on Wheels\", 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VFWC was instrumental in getting the artmobile started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, newspaper and magazine clippings and schedule 1961-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedules, Plans, correspondence and photographs, 1960-63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and plans for 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening, Middleburg, Virginia, 1962.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner and Invitation List. Artmobile II Opening. Middleburg, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Facts sheets, invitations and photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dedication. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- correspondence re. funding, construction, photographs, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans for Collegiate Artmobile to visit Virginia Colleges. 1964-65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal to ask the Carnegie Foundation for funding for a collegiate artmobile, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening, Ashland, Virginia. Correspondence and programs, Sept. 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Meeting of Virginia college Presidents regarding the Artmobile project to service college and University campuses. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, David Pittman, Peter Mooz. Subject- Artmobile workshop: program agenda, exhibition schedules, etc. \"Artmobile Chairman Handbook\". Dates- 7/74 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fruehauf Trailer Co., artmobile manufacturer, 1965-66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed by Lt. Governor Mills Godwin, attempted to establish a Virginia Arts and Crafts Museum. Newspaper clippings, correspondence, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets, prints, minutes and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Arts and Humanities Summer Institute. Sponsored by the Va. Commission of Arts and Humanities at the Museum in 1971. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Informational pamphlet from the President's advisory Council on the Arts, 1963. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Art Council of America and Governor's office. Subject- invitation from the Art Council of America to be represented in this council, etc. Dates- 10/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from George Cruger (Editor, AIV), J.M. Brown and Wm. Gaines. Subject- Microfilming of AIV and checklist of Articles to date, Spring 1974. Catalog: \"Image\", George Eastman House, 1973. Dates- 11/73 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memos and Correspondence. Dates- 1960 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Search for a designer for the magazine. Letters to and from possible candidates. Dates- 1964.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Various issues of the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- A.P. News clips regarding Museum, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the portrait bust of John Marshall.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- A.P.V.A. Pamphlets and Correspondence, 1972. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- agenda for the APVA (Association for the Preservation of VA. Antiquities) meeting held at VMFA, roster of exec. committee and trustees, etc. Dates- 3/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of members and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and reports from annual meeting 1964-68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- General correspondence to Directors of various museums regarding membership, loans of art works, invitations, etc.  Fact sheet on Artist housing in Soho. Dates- 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and minutes from annual meeting 1970-71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Annual meeting: reports, minutes, events schedules, officers, membership. Code of Ethics for ilicit traffic in works of art. \"Reproductions and Reproduction Rights For Museum-Owned Objects\", 1962, American Federation of Arts. Dates- 1972, 1979 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes from meeting. Dates- 5/59 - 6/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposals for membership. L. Cheek was membership chairman. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes of meeting. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report on dangers of lending objects to institutions for special exhibitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Questionnaires, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Lady Nancy Astor. Subject- Donation of her portrait by John Singer Sargent and china. Dates- 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"B\". Subject- varied. Dates- 9/50-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with institutions, individuals or corporations beginning with the letter \"B\" and the VMFA loan-own art service policy statement. Dates- 6/62-10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Transcript of remarks by Frank Stanton on his award of the Michael Friedman Medal of the Architectural league, magazine clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Ballet and L. Cheek concerning the beginning and future of a theatre at the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, A. Ballet and trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Baltimore Museum of Art calendars of events, correspondence about museum practices, etc. Dates- 9/48-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Miss Iris Barry. Subject- giving a film lecture, newspaper clipping, etc. Dates- 8/49-5/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, T.C. Colt, Jr. and L. Cheek, Jr. Subject- general information about Barter Theatre (announcements, VA Highlands Festival schedule, etc.) and correspondence about the Museum sponsoring drama productions as a state extension service. Dates- 12/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Barzansky Galleries. Subject- invitation to a Harriet Fitzgerald exhibition at the Charles Barzansky Galleries, N.Y.C. Dates- 1/58-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Governor Battle. Subject- thank you notes, etc. Dates- 11/50-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlet of the Museum's 1945-6 season. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. Bellows. Subject- the proposed acquisition of one of two of Bellows' paintings (Kids, The Teamster) which the museum didn't purchase. Dates-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Fitzgerald Bemiss as a Trustee, correspondence about Board of Trustees and Membership Committee business, gifts to VMFA, etc. Dates- 6/54-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- visit to Florence, Italy and to see Bernhard Berenson. Dates- 1/56-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition: Eugene Berman's sketches for the Metropolitan Opera's Barber of Seville. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Brown was a chairman of the panel of judges for the Franklin Mint Bicentennial Medal competition in the state of Virginia, official rules and entry form for competition, etc. Dates- 4/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- House Bill no.131 to keep Va. interstates free of billboards, response letters from Va. politicians, etc. Dates- 2/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Mr. Paul Bird as a lecturer on contemporary painting, a transcript of the lecture, etc. Dates- 1/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek and J.M. Brown. Subject- Accessions: Chinese objects. Requests for loan of A. Wyeth paintings from Wyeth Estate, invitation to Clare Boothe Luce to address 17th Annual Va. Public Relations Conference, letter of inquiry regarding the artist Lucille Sinclair Douglas. Accessions: Dubuffet prints, period chairs, pedestals, chest, Aphrodite Torso, female draped figure, Claude Hirst painting, Roger Barr painting. Eric Christmas and Festival Theatre, Ontario, Canada, proposal around building of Bristol Chapter House, furnishing of Agecroft Hall, expansion of University curriculum to include Art Historical Studies in surrounding colleges, Hogarth exhibition, World Museum Fund with description of event and agenda.  Text from \"Country Beautiful, America's Finest Small Museums\", with description of VMFA. Accession and gifts: \"The Little School Girl\", Degas; Amphipolis Gold. Dates- 1959-70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek. Jr. Subject- By-Laws revised and adopted 1951, Organic Laws, announcements, replies, agenda and minutes of annual Board meeting 1950, committee reports, listing of Trustees, etc. Dates- 5/50-5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Col. H.W. Anderson. Subject- annual Board meeting, listing of Trustees 1952-3, announcement of annual meeting, VMFA Annual Report of the Director 1952, etc. Dates- 5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement, replies, agenda and minutes of annual meeting 1953, notice of amendments to the By-Laws, a VMFA report/essay \"The Need for Completing Its Addition\", etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- annual Board meeting minutes 1953, 54, VMFA Annual Report of the Director 1954, notice of amendments to the By-Laws 1954, announcement, replies and agenda for meeting, etc. Dates- 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- minutes of Trustees annual meeting 1955, working papers for the meeting, committee reports, By-Laws revised and adopted 6/54, listing of insurance coverage, Museum events, etc. Dates- 5/55-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mid-year meeting and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement of annual meeting and luncheon for the Trustees, R.S.V.P.'s, attendance list, etc. Dates- 4/56-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Index cards with names and addresses of current and former Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff and Board Presidents. Subject- Board of Trustees committee appointments, appointment letters and reply letters for the following years: '45/6, '46/7, '47/8, '48/9 and '49/50. Dates- 1945-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- letters of appointment to serve on Trustee committees and reply letters, listing of committee appointments 1949-50, etc. Dates- 7/49-7/50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Henry W. Anderson (President of the Board). Subject- appointment to committee letters and reply letters, etc. Dates- 8/51-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence By L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of committee appointments. Dates- 1954-5. Correspondence- Subject- listing of committee appointments. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of Trustees committee appointments (1956-7), reply letters to committee appointments, etc. Dates- 8/56-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- notes on planning, cost estimates, invitations, replies to preview of A.D. Williams collection and dinner honoring Governor and Mrs. Battle, etc. Dates- 10/52-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Museum events, working papers for the annual Board meetings and agendas, nominations to the Board, excerpts from the Board minutes, committee reports, etc. Dates- 2/37-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains miscellaneous correspondence, memos and minutes from meetings. 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board annual meeting minutes 1955, By-Laws revised and adopted 1954, By-Laws and suggested revisions 1956, listing of Trustees 1955, Committee appointments 1954-57, etc. Dates- 1954-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Roster of the VMFA Board of Trustees. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement, replies for Board meeting, listing of Trustees 1952, 53, notice of meeting cancellation because of inability to secure a quorum, etc. Dates- 1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- announcements, replies, agenda and minutes of Trustees special meeting and Executive Committee meeting, etc., 1/54-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of the Board of Trustees annual meetings. Dates- 1934-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- suggested plan for developing VMFA collections by Colt (1945), announcements and replies for Board annual meeting , prepared budget 1947-8, listings of Trustees, officers and committees, etc. Dates- 10/45-6/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- sightseeing boat tour on the James River. Dates- 2/57-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mrs. John H. Bocock as a Trustee, Board of Trustees, Entertainment and Accessions Committee business, art lending service information, gifts to VMFA, etc. Dates- 5/51-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek writing introduction for A. Aubrey Bodine's photography book: The Face of Virginia, draft of the foreword/introduction, biographical information on Bodine, etc. Dates- 3/62-1/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- letter to Hon. Armstead L. Boothe about appointment to Board. Dates- 6/64-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Jr. primarily with the Sheraton Hotel. Subject- a cocktail party held on Cheek's Boston trip, guest lists, invitations, etc. Dates- 10/58-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. with various Boston Museum staff. Subject- museum practices, loans, speaking engagements, exchange publications, etc. Dates- 11/47-10/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loaning objects to VMFA, correspondence about museum practices, lecture given by Cheek in Boston about art in Virginia, etc. Dates- 3/55-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and V.Y. Bowditch. Subject- Bowditch biographical information, drama schedule 1955-6 season, evaluations, theatre operations, etc. Dates- 7/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Theatre director of Pasadena Playhouse 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. with E.G. Bowles and the Public Works Administration (PWA). Subject- landscaping the Museum and bids complying with PWA, construction contract 4/36, classifications of labor/workmen and wage rates 12/34 and Form Of Bond-VA 4/36. Dates-3/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's membership to the VMFA Board of Trustees, Museum events and daily operations, the following Museum publications: Virginia Museum of Fine Arts By-Laws, 1st Annual Financial Report of the Curator (4/13/35-6/15/36) and Virginia Museum of Fine Arts 1st Quarterly Financial Report of the Curator (5/1/36), listing of suggested prospective Trustees, listing of Trustee committee appointments 1937, sketches of Museum floor plan, etc. Dates- 12/34-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, Museum publication: Prospectus of Program Season of 1937-38, radio talk show transcript 3/38, etc. Dates- 6/37-6/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, PWA grant offer 1938 to the Museum, letter from VMFA rejecting the offer of a PWA grant, copy of the resolution that Henry P. Strause, Esq. be named first Honorary Benefactor of the Virginia Museum of Fine Arts, etc. Dates- 7/38-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Trustee committee appointments 1939-40, essays by Branch about WWII, financial situation of the Museum 1939, creation of a \"Ways and Means\" committee, etc. Dates- 8/39-6/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe Branch. Subject- Branch's presidency of the VMFA Board of Trustees, staff organization (1940), plan for VA artist fellowships, \"Art in Virginia\" an article written by Colt, Museum events and daily operations, Museum investments and gifts to the Museum, biographical information on Branch, Trustee committee appointments 1940-1, etc. Dates- 6/40-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, biographical information on Branch, Museum events and daily operations, Museum investments and gifts to the Museum, winner of the first Webster S. Rhoads medal, etc. Dates- 5/41-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Thalhimer Brothers, Inc. Subject- use of VMFA's Medieval Gallery for British Embassy reception. Dates- 6/1/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- brochures for the VA Dance Society, VA Film Society and VA Chamber Music Society. Dates- 1963-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loaning objects to Brooklyn Museum, correspondence about museum practices, exchange publications, etc. Dates- 2/48-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- essay written by J. Carter Brown for New York University. Dates- 5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- news releases about James M. Brown becoming VMFA Director, newspaper clippings, photos of Brown, Report of the Director 1972-3, etc. Dates- 6/69-11/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff and Trustees. Subject- plans for receiving the new Director. Dates- 6/69-7/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Fred Haseltine (Assistant to Director). Subject- list of objects being offered to the Museum including: antique gold boxes, ornaments, clocks, etc., letters to the executors of the Ailsa Mellon Bruce estate, correspondence with Paul Mellon, news releases and news paper clippings about gift, photos of the galleries, etc. Dates- 8/70-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Mr. David K.E. Bruce as a Trustee, Board of Trustees business, gifts to VMFA, etc. Dates- 5/48-3/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed acquisition of the Brummer collection of Medieval art, report on collection, list of objects, correspondence to Paul Mellon, etc., later sold to Duke University. Dates- 12/65-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and the Smithsonian Traveling Exhibition Service. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Exhibition 1958, includes layouts and photos, etc. Dates- 3/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's membership on the Fine Arts Advisory Committee to U.S. Commission for the Brussels Universal and International Exhibition of 1958, committee meeting minutes 1957, committee roster, etc. Dates- 2/57-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Fair 1958, Cheek was an advisory committee member, loan, catalogue and installation lists, information on slide presentation- \"Art in American Museums\", etc. Dates- 3/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- sketches, plans of the U.S. pavilion for the Brussels International Fair 1958, information and listing of objects in the \"American Folk Art\" exhibition, etc. Dates- 1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Harry Bertoia (Sculptor). Subject- the acquisition of a Bertoia piece (Tree) shown at the Brussels Fair. Dates- 8/57-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr. Subject- D. Tennant Bryan as a Trustee, Board of Trustee and Membership Committee business, etc. Dates- 10/47-6/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. D. Tennant Bryan. Subject- Trustee/Museum business, membership to the Museum, etc. Dates- 5/51-9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. J. Stewart Bryan. Subject- Trustee/Museum business, loan of paintings for inaugural exhibition, gift to Museum, etc. Dates- 6/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Thomas P. Bryan as a Trustee, Board of Trustee business, etc. Dates- 9/58-11/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- congratulatory letter to Mr. Thomas P. Bryan on election as Mayor, Date- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. to Buchholz Gallery. Subject- proposed purchases, loans, exchange publications, etc. Dates- 4/47-8/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VMFA budget exhibit 1959 and 1966-8, resume of the VMFA Trustees before the Appropriations Committee 1964, budget requests 1960-1 and 1962-4, etc. Dates- 9/61-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of Governor's Budget Advisory Board 1965, outline for capital outlay funds dinner, invitation letter to Trustees, etc. Dates- 5/65-6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed 25th anniversary budget, correspondence about obtaining a Budget Committee for the 25th anniversary program, anniversary publications, etc. Dates- 1/60-3/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about Capital Outlay Commission dinner and theatre, etc. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- suggested order of events for Budget Advisory Committee meeting, invitation letters to the Presidents of VMFA affiliate chapters, draft of end of dinner announcement, etc. Dates- 7/61-9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- list of Governor's Budget Advisory Committee 1969, review of Museum's request for capital outlay funds to construct North Wing and theatre, etc. Dates- 4/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- roster of Governor's Budget Advisory Board 1967, outline for Cheek's remarks to Budget Advisory Committee, etc. Dates- 1/67-5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- roster of Governor's Budget Advisory Committee members 1972-4, request for hearing, dinner invitations for Advisory Committee, etc. Dates- 5/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers and news releases about the addition to the Museum. Dates- 6/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to other U.S. art museums. Subject- installation and advice on purchasing an air conditioning system. Dates- 5/53-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Wm. Rhodes. Subject- correspondence about air condition system failure. Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- addition and renovation to the Museum, proposals and preliminary studies by Mr. Merrill Lee, Architect, copy of a Architects and Consulting Architects Contract, etc. Dates- 12/49-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard primarily with Architects M.C. Lee and Eggers and Higgins. Subject- schedule of interior installation, list of architects bills, building inspection, review work/progress, photographs of progress of additions to the Museum 1953, etc. Dates-12/48-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the proposed addition the VMFA 1949-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Baskervill and Sons (architects and engineers) preliminary drawings, schedule for construction project, etc. Dates- 7/64-12/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Attempt by the United Daughters of the Confederacy to expand their facility on the block. The Museum's and the Virginia Historical Society's attempts to stop them and acquire the land for their own use. Dates- 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about equipment needed to supply music to members' quarters, lobby area and galleries. Dates- 7/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- information about sound equipment. Dates- 6/54-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information on purchasing folding and stackable chairs. Dates- 8/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- extending the rise of freight elevator. Dates- 8/53-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- proposals and layout for a film production unit to be located in the new wing (to make interpretative sound films). Dates- 7/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information, blueprints on changes to and installation of kitchen equipment. Dates- 6/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- the proposed purchase and installation of photographic equipment, correspondence with other art museums about creating and maintaining a darkroom and staff photographer. Dates- 8/53-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- blueprints of check room, information about coat, overshoe and umbrella racks for the Museum check room. Dates- 9/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information about seating for the theatre and auditorium, blueprints of the auditorium. Dates- 8/53-8/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of machinery and equipment needed for the new shop. Dates- 8/17/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about chandelier for front entrance of Museum. Dates- 9/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M.C. Lee, Architect. Subject- alterations and additions to the Museum, color samples and specs for painting and finishing, etc. Dates- 8/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains amounts of pledges and names of donors giving money for new galleries.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Gallery floor plans: VMFA, Brooklyn Museum, Victoria and Albert, British Museum, Art Institute of Chicago, Walters. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Merrill C. Lee, Architect. Subject- progress photographs and negatives (north wing). Dates- 5/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Architects: contractual agreements, VMFA design program, Capital Outlay Appropriation, alteration, additions, cost estimates, expenditures, contracts for Doyle and Russell and Merrill C. Lee (AIA). Dates- 12/48 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- blueprints of a darkroom and information about and catalogs of photographic equipment. Dates- 8/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns securing restricted material such as steel for post-wartime construction. 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Mrs. J.G. Pollard. Subject- Economic Stabilization Committee (ESA) search for qualified women employees, ESA headquarters to be located in Richmond, federal government regulations that established ceiling prices for all commodities and services (except those specifically exempt) upon the basis of prices in effect between 12/19/50-1/25/51. Dates- 2/51-12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Final Statement Museum Of Fine Arts Richmond, Virginia\", contract dated June 9th, 1952. Financial statement/contract from Doyle and Russell Construction. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Terra cotta statues at the North entrance to the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Original Building: \"Manual On The Planning And Execution Of State Capital Outlays\", 9/1/44, contracts: Doyle and Russell (Building Contractors) and Merrill C. Lee (AIA). Detail for additions and deletion from original building. Design contracts and inspection reports. Dates- 1952 - 55, 1966, 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Brochures, drawings, correspondence 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- information on red carpet and padding for the front entrance. Dates- 8/51-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Meeting with Interior designers 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding plants around the Waddy fountain. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- the Richmond Junior League's proposed campaign to raise money for construction of South wing for the Museum, working papers for and final copy of the pamphlet: \"The Virginia Museum Needs Wings\", etc. Dates-12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- renovations and construction of a new wing to the Museum, Cheek's comments on preliminary and revised drawings, and construction progress, Architects and Consulting Architects Contract (Merrill C. Lee, Architect, Eggers and Higgins, Consulting Architects), an essay \"The Virginia Museum of Fine Arts Need for Completing Its Addition\", etc. Dates- 1/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information relating to addition to Museum, several reports including: Building Program 1950-1, Addition to Building 1949-50, The Virginia Museum of Fine Arts The Need For Completing its Addition, History of Appropriation for Construction (1948-53) ,also, notes for Sen. Gray about Museum addition (1952). Dates- 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- miscellaneous daily and general building maintenance. Dates- 2/60-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Governors Stanley and Battle. Subject- improvements on Museum building and completion of new wing (1954). Dates- 12/50- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject-construction/installation of American and English galleries, alterations to Medieval hall, blueprints, etc. Dates- 7/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- information on purchase of steel lockers, blueprints, etc. Dates- 4/54-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about ordering office furniture designed by Eero Saarinen. Dates- 8/64-1/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Alfred Geiffert, landscape architect. 1949-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- analysis of situation concerning the parking lot and planting, etc. Dates- 8/66-10/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Budget Estimates for landscaping the grounds of the Museum around addition, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information and bids on purchasing lighting and steel storage equipment. Dates- 11/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- info on purchase of supplies for dining room/cafeteria: placemats, traymats, doilies, napkins, matches. Dates- 1/55-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains plans for the Waddy Fountain, and furnishing brochures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Carl Milles, donor of the Little Triton Fountain 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- marble chips for garden court fountain request for information about installation of mosaics in garden court. Dates- 8/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed purchase of wall coverings for new galleries (movable partitions and door headers). Dates- 2/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- commission to decorate behind refreshment counter in the new building, commission switches from Julien Binford to Richard Q. Yardley. Dates- 6/54-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Richard Q. Yardley Mural in the refreshment room. Also contains information on Julien Binford who was originally retained to do the mural before Yardley. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Public Works Administration Grant for Museum addition, application to National Production Authority (N.P.A.) for assistance in obtaining materials for proposed Museum construction. Dates- 10/35-9/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- staff requests for facilities and equipment, list of private funds for Museum addition, Board resolution about the construction on the building, etc. Dates- 7/48-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- drawings of proposed Museum addition, Special Building Committee procedure in dealing with Appropriations Committee of the House of Delegates, etc. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and New York City Museums: Metropolitan, Guggenheim, MOMA, and Whitney. Subject- Extended loans of paintings and sculpture for the VMFA's new wing of Contemporary Art, scheduled for Jan. 1970. Correspondence from L. Cheek to John Walker to address the Collectors Circle. Dates- 7/69 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- report on budget dinners 6/65, Cheek's itinerary for talks 1965, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and Joseph Whitehead (Interior Designer). Subject- Interiors of the New South Wing, Fabric sample enclosed. Correspondence between L. Cheek and Bernard Bothner of the Brooklyn Museum. Subject- Resources for slides to accompany the reinstallation of the Egyptian Gallery. Dates- 6/66- 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposals for gallery orientation theatre systems. Memo To VMFA staff regarding upcoming Fellows meeting. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to other museum directors. Subject- Request for slides of recent building additions to their respective museums, to prepare for a presentation to the Virginia Legislature. Dates- 4/65 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey conducted by L. Cheek to determine the necessity of a sprinkler system in galleries. Letters, cards of response and survey results. Dates- 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains brochures and catalogs 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photos of preliminary architect's drawings, preliminary cost estimates, etc. Dates- 7/62-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Information concerning the MOMA 30th Anniversary, building funds drive with text of building/expansion plans, \"Toward The New Museum Of Modern Art\" , 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- review of presentations to the Art Commission, photos of other art museum additions, statements about addition (Mr. Wallace K. Harrison and Mr. Frederick D. Nichols), etc. Dates- 9/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sculpture garden fountain and the renovation of the theatre lobby. Dates- 7/76 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Wm. Higgins. Subject- Membership drive/ New Wing opening, progress reports to members of the Board, financial statements: cost estimates, design fees, operating fund, construction timetables. Fact sheet relating to history of VMFA. Signficant dates for the Virginia Museum, \"History of North Wing Construction\". Dates- 4/71 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nicholas and C. Chamberlayne (Hardwick). Subject- Progress timetable, architectural engineering/ landscape/ interior design. Revisions/ alterations to construction, cost estimates, instructions to bidding contractors. Review by building committee of the Board of Trustees. Minutes of the building committee, 2/25/72, drawing/plans. Dates- 1971 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nichols and C. Humelsine. Subject- North Wing plans, justification and description, funding, appeal to legislature to win support for North Wing funding. Rosters: Appropriations committee, finance committee, Governor's budget advisory committee. Essay- \"The Unique, Pioneering Virginia Museum\" and \"Facts on the Virginia Museum of Fine Arts\". Dates- 1967, 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson and L. Cheek. Subject- Original design of North Wing per L. Cheek and Baskerville (AIA), later rejected by the Arts Commission. List of significant dates with regard to North and South Wing additions. Minutes of Special building Fund committee, 3/11/65, original building proposal, photographs. Bulletin vol.26, no.2 10/65. Dates- 9/65 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs/Plans/Drawings from Baskerville and Son (AIA) for:entrance hall, basement/sub-basement, site plan elevations/cross section, gallery floor plans and views of entire block.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nicholas and L. Noland (building committee). Subject- Construction, architectural engineering, capital outlay, construction bids, plans and contract documents. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- blank order forms labeled VMFA NPA Regulation No. 4. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. J.G. Pollard. Subject- National Production Authority (NPA) regulations, order listings for maintenance, repair and operating (MRO) supplies, regulations about using the DO-97 rating (Form used to obtain MRO supplies), quota for the 4th quarter 1951, etc. Dates- 3/51-7/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about construction and funding (some PWA) of a wing to the Museum, publication: Working Relationships Between Private Architects and Engineers and the Commonwealth of VA (2/44, Governors' office, Division of the Budget) and The General Conditions of the Contract for the Construction of Buildings (standard form of the American Institute of Architects). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Doyle and Russell, Building and Industrial Construction. Subject- Bronze founders tablets, frames, building inspections and taking over and operating the building 10/35. Dates- 8/35-10/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Peebles and Ferguson, Architects, Norfolk. Subject-blueprints (including detail of the Portuguese Room dated 9/18/35), maintenance and furnishings (benches, plaques, interior painting, etc.) for the Museum. Dates- 4/35- 6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Ferguson, Meakin and Moore, Architects, Norfolk. Subject- reproductions of drawings of proposed south wing, drawings, bids, etc. Dates- 10/37-5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans and Correspondence 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photos of drawings showing the proposed additions and alterations to Museum. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans and correspondence regarding the memorial plaques around the building: R.E. Lee Camp, Waddy and the Old Dominion Foundation fountains. 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- construction/installation for the Pratt collection, blueprints, progress reports to Mr. John Lee Pratt, etc. Correspondence with Milton Samuels of French and Company who designed the installation, including quotes for fabric, carpet, cases, carpentry, lighting (including the chandelier). Cheek asked Pratt to fund it and he agreed. Lots of invoices. Dates- 6/54-5/55.   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Baskerville and Sons, Architects, 3/11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about building models, preliminary drawings, furnishing and equipment catalogues, etc. Dates- 4/65-12/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence and statements from Marcellus Wright and Son. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and Merill Lee (architect) and Chairman of the Building and grounds committee, concerning construction of the service area. Dates- 1/59 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Eggers and Higgins, Architects. Sketches and drawings 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., J.M. Brown and Erwin H. Will (VMFA President of the Board). Subject- all aspects of construction of the South Wing, additions and alterations to Museum, landscaping, fountain, parking lot, etc. Dates- 12/66-3/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of South Wing construction conferences 1969-72, outline of construction to South Wing, etc. Dates- 1969-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Governors Dinner/Event in celebration of the South Wing: program agenda, menu, dedication plans, News Media reception, Rosters: House of Delegates, Senate, Trustees. Key presented to Governor Linwood Holton donated to the archives by Anne Holton November 3, 2022. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Capital Outlay requests, individual project descriptions, preliminary plans, tabulations of construction bids, estimated income sources, floor plans, budgets, invoices, Executive Committee Minutes and Building Committee Minutes. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Erwin Will. Subject- New duct layout for the South Wing attic space: revisions necessary due to mistakes in original drawings and improper work. Financial statements. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA Charter, Act of March 27, 1934. Design program (2/18/49) Phase II, museum enlargement, boiler replacement, contract cost estimates, committee no.279-A, addendum no.7 to the drawings and alterations to VMFA. Theatre light control system, weekly project inspections. \"General Conditions Of The Contract For Capital Outlay Projects\". Dates- 2/52 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and members of the building committee. Subject- Proposed additions, rejection of north facade by Arts Commission. Excerpts from Minutes of Art Commission Meeting, 6/4/65, 7/9/65, 7/29/66. \"The Virginia Museum Opens The New South Wing\", Press package, Brief History and Signficant Dates of VMFA, photographs. Dates- 1965 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Supplemental Agreement #2: Additions and alteration to various aspects of structural design contracts. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Interior construction and design. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment purchasing list, blueprints of theatre, installation of theatre and projection equipment and an orchestra lift, local building committee meeting minutes, etc. Dates- 7/53-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment: bronze stands and velvet ropes. Dates- 1/55-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Construction blueprints and plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letter of invitation to Trustees, former and current, to celebrate the construction of the North Wing, seating arrangement and timetable for event. Letter to Gov. Holton concerning ground breaking ceremonies and gala dinner. Dates - 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Col. Anderson. Subject- proposal for theatre for Museum, possible recreation center for armed forces stationed in Richmond. Dates- 2/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Waddy Memorial and Triton Fountains 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- B.F. Ruskin and Associates 1953-55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- committee reports on funding for construction of addition to the Museum, schedule of payments to date (12/4/50 and 12/20/50). Dates- 10/50-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- additions and alterations to VMFA 1955, list of Museum alterations and additions to date 6/15/55 by Merrill C. Lee, Architect, VMFA Noise Survey CA 9687 (1955), blueprints, etc. Dates- 1/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains architectural plans for the first addition to the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- cost estimates/proposed funding for Museum addition, copy of the resolution to establish a Local Building Committee, announcements, replies and minutes of Local Building Committee meetings 1950-2, etc. Dates- 1/46-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Local Building Committee, 1951-54. Information regarding the local contractor. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- minutes and outlines of VMFA Building Committee meetings 1952-3. Dates- 6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr., and G.D. Gibson (Chairman of the VMFA Building Committee). Subject- addition to Museum building, listing of additions and alterations to the building, agenda and minutes of Building Committee meetings 1953-4, etc. Dates- 9/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- addition to Museum building, minutes, announcement and agenda for VMFA Building Committee meetings 1954-5, list of contributors to Museum Building Fund, etc. Dates- 7/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by G.D. Gibson (Trustee). Subject- installation of Museum equipment, minutes of the Buildings and Grounds Committee meetings 1955-6, etc. Dates- 9/56-12/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains lists of expenditures, list of private donors with amounts donated for the addition to the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA Local Buildings and Grounds Committee meeting minutes 1948-56, listing of committee meeting dates 1948-56. Dates- 1948-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard to Senator Garland Gray. Subject- information about planning costs for addition to Museum building, Museum business and events, etc. Dates- 5/51-7/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of the Museum's members bulletin. Vol.1, No.8, Vol.7, No.'s 1,4and6, Vol.8, No.'s 5and8, Vol.9, No.'s 1,2and4, Vol.10, No.'s 1,2,7and8, Vol.11, No.'s 1,2,3,4,5,6,7and9, Vol.12, No.'s 8and9, Vol.13, No.'s 6and9, Vol.14, No.'s 1,3,6,7,8and9, Vol.15, No.'s 3,4,5,6,7,8and9, Vol.16, No.'s 1,2,3,4,5and6. Dates- 9/46-2/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Bulletins with general information and a survey of sources of income, private and public, from various museums. Dates-1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 1962-1966 Donations, Trustee File. Dates- 7/55 - 12/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and members of Board of Trustees. Subject- Revision of By-laws and Memorial Fund Policy, revisions and recommendations, minutes from sub- committee on By-laws. Dates- 1958 and 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA By-Laws (revised and adopted 5/51, 5/53, 6/54), Notice of Amendments to By-Laws (6/50, 5/53, 6/54), VMFA Organic Laws, etc.. Dates- 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Senator Byrd. Subject- amendment of IRS code Sec. 863, exempting works of art loaned for exhibition in this country from federal estate taxes. Dates- 7/51-10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard, and L. Cheek, Jr. to individuals, institutions and companies beginning with the letters Ca-Cn. Subject- varied, including four letters from Alexander Calder about Museum purchase of one of his pieces. Dates- 8/45-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek. Subject- Loans of artwork, Trustees, Fellows, Mary Callery (juror, 1963 Va. Artists Exhibition). Accessions and gifts: Tree, Callery; Han Dynasty pottery; Nanny, T. Sully. Dates- 2/59 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and P. Near to J. Brun and H. Jucker. Subject- Acquisition and provenance of Caligula, Newspaper clippings. Dates- 1971-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, his term as Treasurer of the Fellows. Dates- 1/60-6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. John Canaday (from University of VA). Subject- Christmas card design by Canaday, loan of a sculpture show, jobs, etc. Dates- 5/49-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Capital outlay requests for parking area, South Wing, Entrance Improvements, Expenditures and revenues for the year ending 6/1960. \"Instructions for Form c-54-A (individual project report)\" from Commission on State Capital Outlays and Means of Financing. General Endowment Income 1960-61; Capital Outlay for Galleries, landscaping, Egyptian gallery and North Wing, 1935-60. Collections for which there is inadequate exhibition space, list of cultures that are not represented or under-represented, roster of members serving on the \"Commission on State Capital Outlays and Means of Financing. Dates- 1960-61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Includes Frances Benjamin Johnston acquisition.","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- officers from the Carnegie Corporation visiting Richmond and the Museum. Dates- 8/55-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to F. Anderson (Carnegie Corporation). Subject- Experimental use of Carnegie Collection of Materials for the Instruction of American Culture and funding of Collegiate Artmobile IV. Proposal, '\" An Artmobile for Virginia Colleges\", March 1965, Supplement, A Statewide Stimulus for Education in the Humanities, Statement of purpose, photocopy of partial grant payment. Dates- 1/58-7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Carnegie Corporation of New York and Carnegie Institute, Department of Fine Arts. Subject- Frances Benjamin Johnston acquisition, requesting a grant, requesting loans for inaugural exhibition, counsel on museum practices. Dates-8/35- 12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Carnegie Trust. Subject- a visit to Richmond by officers of three British Carnegie Foundations, information on Carnegie Trust 1954, etc. Dates- 8/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Secretary of Carnegie Dunfermline Trust. Subject- Roster of Carnegie Delegation visiting VMFA; Annual Report- Carnegie Dunfermline Trustees, 1960. Dates- 7/59-60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- job of Technical Director of the Theatre Division, etc. Dates- 6/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lists of 25th Anniversary donors; VMFA presidents and terms of office 1935-60. Essay- \" The Arts In Virginia\", Walter S. Robertson (Pres. VMFA). Essay- \"Collecting In America\", Alfred Frankfurter (editor and Pres., Art News) Dates- 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of orders for and purchasers of the Healy's Sitters Catalogues, thank you notes for exchange publications, list of relatives of Judge John Barton Payne, etc. Dates- 4/51-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Jaquelin-Ambler Portrait catalogs, listing of the members of the Jaquelin, Ambler and Broadnax families. Dates- 11/48-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- a fellowship set up by the Catherwood Foundation (previous owners of the Dali jewels) to be used for travel/education in Europe, information about transporting Dali jewels from the Museum. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fellowship for artists provided by the Catherwood Foundation and awarded and administered by the VMFA that year. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. William Gaines and L. Cheek, Jr. and M.B. Christison (Assistant Director). Subject- Gaines biographical information, Catherwood Foundation fellowship recipient, application, recommendations and award letter for fellowship, list and some photos of work submitted, etc. Dates- 3/56-11/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual luncheon and tour. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Century Lighting Co. Subject- lighting for the artmobile and theatre, etc. Dates- 6/53-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets from the Convention and Tourist Bureau (Richmond). Dates- 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- pamphlets from the Virginia Chamber of Commerce. Dates- 5/49-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Restoration of Old Botetourt Hotel, Gloucester, Va.; Programming instructions for \"Civilization\" Film Series; proposal and budget for statewide broadcast of Affiliate promotionals. Rosters of Affiliates, Chapters and Confederation Officers; Minutes of \"Executive Committee Meeting\", 10/72; maps, postcards, press release, newspaper clipping, photographs. Dates- 2/67-7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Winter Conference agenda, participants, newspaper clippings. Dates- 12/71-3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal and budget. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Affiliate/Chapter offices Museum Lecture/Tour; roster of Officers, speaking schedule, events, remarks for each engagement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prototype for letter to be sent from all VMFA Chapter Presidents to convince Legislature of the need for new building. Dates- 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dali Jewels. Date- 7/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. primarily to realtors and lawyers. Subject- sale of Cheek's property \"Faraway Farms\", information on sale of Chebry Co. property, etc. Dates- 6/50-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to T.C. Colt, Jr. from L. Cheek (when he was Chairman of the Fine Arts Department at The College of William and Mary and when he was Director at the Baltimore Museum of Fine Arts). Subject- art in Virginia, counsel on museum practices, etc. Dates- 12/36-1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- The retirement of L. Cheek, Trustee dinner honoring the occasion, presentation of \"Thomas Jefferson Public Service Award\", with remarks by Lt. Gov. F.G. Pollard; South Wing construction; invitations and newspaper interview with L. Cheek. Dates- 1/65-3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W.S. Robertson and Morton Thalhimer. Subject- Letters of moral support, press releases and newspaper clippings announcing the resignation of L. Cheek (decision later recanted). Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding L. Cheek's reconsideration of his resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resolution from VMFA Council regarding the outstanding contributions of L. Cheek. Includes letters from and too supporters. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Replies to his reconsideration of resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Text from interview of 11/2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- PR, decorations, lecture, etc. Dates- 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memo to VMFA staff, PR, agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Thank you letter from by a class participant.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding classes at the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Registration information and class lists.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison. Subject- installation of collections and exhibitions, Museum programming, biographical information, etc. Dates- 10/54-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. Christison. Subject- scripts and working papers for children's radio program (\"Treasure Trails\" on WRVA), listing of slides for Season Survey and information on a Life magazine photo exhibition entitled \"Egypt\". Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vouchers and receipts for travel expenses, 1948-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Christmas cards received by the Museum, a copy of the Museum Christmas card (1956), Information about a Christmas tree in the Members' suite, etc. Dates- 11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Commission of Virginia Artists to design Christmas Cards; rosters: Board of Trustees, A.A.M.D., newspaper clippings, cards, photographs. Dates- 1966-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- ordering Christmas decorations. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz, Sydney and Frances Lewis. Subject- Remarks by J.M. Brown on the dedication of the North Wing and on his resignation. Andrew W. Mellon Foundation, Lewis gift of funds for Art Nouveau purchases, Noland gift of \"Rotating Sphere\", reattribution of the Jewel casket. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Controversy concerning gift of Walter P. Chrysler, newspaper clippings, and Chrysler newsletters, 1973-75. Dates- 1969 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Henry Clay Hofheimer and J.M. Brown. Subject- New wing, correspondence between the Executive Board, the closing of the Chrysler Museum School, operating budget, accessions, list of objects. Minutes of Executive Board, 2/8/72. Transcript of William L. Parkers, et al complaints vs. Walter P. Chrysler Jr. et as Defendants. Dates- 1972 - 33 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Chrysler collection exhibition at the Museum and possible Artmobile tour, listing of pieces in collection, etc. Dates- 9/49-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Loan Exhibition for Church Silver of Colonial Williamsburg, outline for proposed exhibition, budget, letter drafts to Church Wardens, lists of Episcopal Churches owning Church Sliver, Format for catalogue. Dates- 7/68-4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about proposed reproduction in miniature of a Cigar Store figure from the Museum collection. Dates- 7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed reproduction in miniature of American cigar store figures from the Museum collection. Dates- 5/56-12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek Subject- Civil War Centennial Exhibition, agenda, maps, newsletters, VMT copy of \"Certificate of Award\", conferred on the Virginia Civil War Commission. \"Virginia Joins The Confederacy, Chronology of Events November 1860 through 1861\", Civil War Centennial, 1961-1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's membership on advisory council of the Civil War Centennial Commission, site development study for proposed Confederate Memorial Park in the Museum area, \"Report of the Preliminary Plans of the Virginia Civil War Commission to the General Assembly\" 12/59, etc. Dates- 5/59- 12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Programming, Ticket Stubs, newspaper reviews, news releases, photographs. Dates- 7/70 - 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Joseph Lucas (pres. Civitan Club) [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Resume of Cleveland Museum President, Sherman Emery Lee with photo, Cleveland Plain Dealer Interview \"Sherman Lee's Double Life\". Dates- 12/55-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Clopton complaint about film tickets. Dates- 2/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- membership in The Poetry Society of Virginia. Dates- 2/53-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr., to individuals, institutions and companies beginning with the letters Co-Cz. Subject- varied. Dates- 8/45-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., L. Cheek and J.M. Brown. Subject- Geri Melchers Memorial; Minutes of Annual Meeting 1962; Minutes of Executive Committee Annual Meeting 1962; restaurant feasibility. Dates- 1957-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arranging a lecture by Mr. Alexander S. Cochran, Architect in conjunction with the exhibition \"Domestic Architecture of the San Francisco bay Region\", biographical information, etc. Dates- 10/49-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, gifts. Dates- 6/54 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the American Association of Museums (AAM). Subject- copies of the Code of Ethics for Museum Workers 1925 AAM report. Dates- 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Remarks on \"The Relation of Trustees and Professional Staff of General Art Museums\", delivered by Charles Nagel 5/17/69,  \"Code of Ethics for Museum Workers\" 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rhodes Rathskellar, proposals for lunchroom: use by staff, volunteer personnel, policy on break schedule and lunch periods. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from P. Near and Peter Mooz. Subject- Checklist of the status, strength, weaknesses and needs of the VMFA. Damage report, gifts of artworks and accessions, Art Purchase Fund, press releases. Letters to Christo and Robert Rauschenberg. Dates- 1976-77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, letters, newspaper clippings and information from dealers, prices regarding possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, prices and other information relating to possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (assistant Director for Collections and Education). Subject- listing of possible additions to Museum's collections 1953, information and some photos of objects considered for acquisition, correspondence with art dealers, etc. Dates- 12/51- 11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- listing of possible additions to the Museum's collections, information and some photos about objects considered for Museum acquisition, correspondence with art dealers, etc. Dates- 1/53-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near, F. Brandt and P. Mooz. Subject- Reorganization of the Collector-of-the-year. 1975- Mrs. Lummont du Pont Copeland Collection on Export Porcelain. 1977- David Lloyd Kruger Collection of Contemporary Art. 1978- Hugo Weisgall Collection, list of objects, copies of scores for the Weisgall Concert catalog. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from P. Near to members. Subject- Collectors circle event with lecture by Caroline Keck. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Cultural exchange, Minutes of Executive Committee of C.A.A., 1/62, 4/62, Minutes of Annual Meeting, 1971; Minutes of C.A.A. Business Meeting, 1/62; revised draft of \"Policies and Purposes\", roster of officers, Directors and committee members; Essay- \"The Visual Arts in Higher Education\". Dates- 1/62 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List for reception/cocktail party, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Preston L. Collins (Lt. Governor). Subject- announcements of Trustee meetings, invitations to Museum events, replies, etc. Dates- 5/51-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. to staff of Colonial Williamsburg. Subject- museum methods. Dates- 7/46-12/54.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- general correspondence with staff of Colonial Williamsburg, information on Cheek's speaking engagement with Williamsburg Rotary Club, etc. Dates- 2/54-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and the President of Colonial Williamsburg. Subject- loan of display units to Colonial Williamsburg, museum practices, etc. Dates- 3/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Colonial Williamsburg. Subject- correspondence about the Williamsburg Antiques Forum, publications/mailings about Antiques Forum 1964,'66,'67,'73, etc. Dates- 5/66-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- detailed letters about the goings-on at the Museum while Colt was serving in WWII, also letter from Mrs. Alfred DuPont about art education. Dates-8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. J.G. Pollard and others. Subject- record of Colt's military service, his resignation to serve in WWII. Dates- 11/42-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Columbia Records presented 55 recordings of the New York Philharmonic Orchestra to the VMFA in 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of \"On Fine Arts in Modern Society: A Research Proposal Prepared for the Virginia Museum of Fine Arts by the Columbia University Bureau of Applied Social Research\". Dates- 5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices with The Columbus Gallery of Fine Arts (Columbus, OH) and Columbus Museum of Arts and Crafts, Inc. (Columbus, GA). Dates- 3/51-8/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to the Board, list of appointments, etc. Dates- 1959-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of committee appointments 1963-4, invitations to Trustee committee appointments, etc. Dates- 8/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to Board and replies, list of appointments, etc. Dates- 1958-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and W.S. Robertson (VMFA President of the Board). Subject- VMFA roster of Trustees 1964-5 and 1965-6, Board committee appointments 1965-6, invitations and responses to Trustee committee appointments, letter about Board term limitations (proposed limitation 2 successive terms of 5 years each), etc. Dates- 6/64-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek correspondence as a member of Committee for International Cultural Exchange (CICE), etc. Dates- 6/61-2/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- suggested projects for Public Relations and Development committees, proposal for the Museum by the P.R. counseling firm Earl Newsom and Co., etc.. Dates- 3/54-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from State Department of Purchases and Supply. Subject- information about choosing stationary, samples for new state letterhead. Dates- 9/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"A Report to the Virginia Museum of Fine Arts 11/19/58\" from the viewpoint of its public relations information and communications responsibilities and program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- information and memos about arrangements for community college presidents to meet at the Museum. Dates- 12/70- 1/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- cooperative arrangements between VMFA and Va. community colleges, Virginia Community College System Annual Reports 1969/70 and 1970/71, proposed programs for community colleges, etc. Dates- 10/70-8/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complaints from Museum visitors about exhibitions, entrance fees, membership rates, guards, etc. Dates- 12/63-7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Museum operations: food service, VMT, membership, discontinuation of dinners in the galleries and newspaper clippings. Dates- 1974 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- guest list for complimentary cocktails in honor of officers and Museum volunteers from the Council, Jr. League and Theatre Affiliates, roster of Jr. League officers 1970-1, etc. Dates- 9/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Erwin H. Will (VMFA President of the Board). Subject- arrangements for a luncheon held in honor of officers and Museum volunteers from the Council, Junior League and Theatre Affiliates, guest list, suggested remarks for Mr. Will at luncheon. Dates- 9/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- miscellaneous Thank you's and compliments about gift and exchange publications, exhibitions, programs, the Museum in general and Cheek's responses. Dates- 2/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence from the public complimenting the museum in some way. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. and W.S. Robertson (President of the Board of Trustees). Subject- Complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 7/60-12/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 1/64-11/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on programs, theatre productions, museum in general and his responses. Dates- 7/66-10/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Various museum operations. Dates- 1972 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- compliments about 25th anniversary exhibitions, events and catalogue: Treasures in America, \"A Tribute to Virginia's Unique Museum\"-a Sunday newspaper supplement, etc. Dates- 1/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for VMFA European catalogue, an exchange publication. Dates- 5/66-9/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Faberge catalogue: Russian Imperial Jewels, a VMFA exchange publication. Dates- 12/60-2/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- compliments and thank you's for gifts/exchange publications of Russian Imperial Jewels, the catalogue of the Museum's Faberge collection. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Architecture in Virginia, a VMFA exchange publication. Dates- 2/68-5/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for William Hogarth, A Loan Exhibition of Paintings, Drawings and Prints, a VMFA exchange publication. Dates- 1/67-3/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Painting in England 1700-1850, Collection of Mr. and Mrs. Paul Mellon, a VMFA exchange publication. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on \"Painting in England\" exhibition (Mellon Collection) and his responses. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for The World of Shakespeare, a VMFA exchange publication. Dates- 1/64-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Form letter from the President to potential members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J. G. Pollard. subject- Letters to Trustees regarding 25th anniversary fund and letters to new members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- performance at Mosque of \"The Confederacy\" as a benefit for the Artmobile, project later abandoned, Date- 11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- drawings of the site of the Confederate Memorial Chapel, landscaping plans, etc. Dates- 7/66-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Richmond Times-Dispatch article \"The Old Soldiers Faded Away Home Here is Vacant\". Dates- 1/16/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitation to Director of the Norfolk Museum to Confederation workshop. Dates- 5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- congratulation and reply letters on the installation of Mr. James M. Brown as VMFA Director. Dates- 6/69-6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of objects from the Glasgow bequest and purchase fund currently exhibited in Museum galleries. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Mrs. Anthony Congreve. Subject- biographical information on Arthur and Margaret Glasgow, correspondence about Glasgow fund for purchasing works of art, listings of purchases made with Glasgow Endowment Fund 1966-72. Dates- 11/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz. Subject- Physical plant restoration project: cleaning of VMFA interior and extensive improvement of motor park, project data summary, Conservation Laboratory: construction and equipment, supply expenditures, budget. Grant application: \"Proposal for Virginia Museum Conservation Laboratory\", employment contract, job descriptions, resumes of prospective applicants. Dates- 1975 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- biographical information arrangements for giving lectures/seminars at the Museum, VMFA Members' Bulletin vol.23, no.9 5/63, etc., Date- 11/50-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for securing speakers for the \"Fireside Series\" proposed art talks held in the library, Thank you's to speakers, etc. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loans of objects between VMFA and Corcoran Gallery of Art, correspondence about museum practices. Dates- 3/51-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Katharine Cornwell. Subject- biographical information on this actress, invitation to come to Richmond to see a show and promote TheatreVirginia. Dates- 5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets and post cards from the Corning Glass Center. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information on obtaining assistance from philanthropic organizations and corporations, etc. Dates- 2/55-12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by E.H. Will (VMFA President of the Board). Subject- solicitation letter for corporate patrons, information on corporate patrons program, roster of Richmond corporate patrons 1970, invitations to corporate patrons gala, etc. Dates- 12/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by E.H. Will (VMFA President of the Board). Subject- solicitation of corporate patrons, pamphlets about corporate patrons program, publications for the corporate patrons gala, etc. Dates- 7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- roster of Richmond and of state corporate patrons 1971, planning for \"Fete Aux Galleries\" the corporate patrons event 1972, invitations and guest list for event, etc. Dates- 6/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Exhibitions, condition reports, insurance, gifts and purchases. Essay- \"Successful Adult Museum Programs\", M. Christison. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Velz.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) primarily, also L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- varied. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- General correspondence regarding publications, museum practices, exhibitions, pamphlets. Letter from Alexander Calder. Dates- 7/56 - 12/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Ford Foundation grant-in-aid program, Fogg Conservation Symposium and the Chrysler Collection. Photographs, cesolution recognizing the outstanding contribution of L. Cheek by the VMFA Council. Draft of \"Standards For Museum Practices\", SEMC, 1958. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition of American Silver, jurors for 1965 ADP exhibition, biographical data, 25th Anniversary exhibition and list of objects for loan. VMFA film series, press releases for \"The Little International\" from the Olsen Foundation and the Artmobile. Dates- 1958 -1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and VMFA Council officers. Subject- Council roster 1957-8 and 1958-9, listing of charter members, council-sponsored events and programs, lecture series schedule 1957-8 and 1959-60, statement of purpose of the Council, minutes of general meetings 1962 and'65, Executive Committee meeting minutes 1962 and '63, acknowledgments of gifts to the Museum, etc. Dates- 7/56-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown with the VMFA Council. Subject- Council gifts, Council -sponsored events and programs, preliminary drawings for Council shop office, breakdown of Council Contribution Fund 10/70 and 11/70, etc. Dates- 2/66-4/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for corporate patrons ball, roster of Richmond and of state corporate patrons, roster of Council committee for the ball, invitations and guest lists for ball, etc. Dates- 10/70-3/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- outline of the organization of the VMFA Council, Council Program 1955-6, Council of the VMFA Charter Meeting and Articles of Association, \"Friends of the Museum Constitution\", etc. Dates- 5/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- VMFA Council Contribution Fund analysis 1971 and'72, various Council sponsored events and programs, agreement between VMFA and the Council 10/20/70, A Short History of Council Gifts to Museum 1955-71, The Council of the Virginia Museum Directory 1971-2, general correspondence between Council officers and VMFA staff, etc. Dates- 1/71-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Council Trustee Contribution Fund, conservation laboratory, library, state services, fellowships and internships. Profit and loss statements, general ledger trail balance, Art Purchase Fund, staff expenses, VMT financial statements, matching funds for NEA Grant. New Council Shop, furnishings, installation, etc. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposal to establish fellowships for professional craftsmen (resident Craftsman Program), letters from interested craftsmen, etc. Dates- 2/63-2/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- proposal of a story about the Museum for Time-Life magazines, reference made about a reproduction of a Watteau from the Museum's collection appearing in Time. Dates- 11/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Monica Hamm and P. Mooz. Subject- Head of publications, editor of AIV and advisor for photography exhibitions. \"Focus On The Arts\", Pat Becker. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- fact sheet about VMFA, House bill no.862 was about establishing a Virginia Commission of the Arts and Humanities, transcript of the VMFA presentation by E.H. Will (VMFA President of the Board) to the Virginia Assembly, Rules Committee asking to kill or amend the bill, etc. Dates- 1/68-2/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- roster of Virginia Cultural Development Study Commission and of the State Arts Committee, information about the creation of the Va. Cultural Development Study Commission by Senate joint resolution no.67, essay- \"The Virginia Museum and the Arts in Virginia\", correspondence about meeting with the Cultural Development Commission, \"Dissenting Opinion Report of the Cultural Development Commission\" by Dr. William H. Higgins, Jr., member of the Commission, etc. Dates- 3/66-1/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"D\". Subject- varied. Dates- 3/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- VMT, exhibition schedules, Byzantine Architectural exhibition, College Drama Festival, loans of art works, Artmobile, Horace Day, NEA proposal, pamphlets, magazine excerpts, cards, biographical data, etc. Accessions and gifts: \"The Meeting of Joachim and Anna Under the Golden Gate\", A. Duer. Dates- 10/58 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Conference for teachers and students of Dance at VMFA, master classes, lecture and performance by Alwin Dance Theatre, agenda, list of dance teachers. Date- 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, AIV. Dates- 1/61 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Virginia Architects, Designers and photographers\", Collectors Circle, Va. Artists Biennial, donations, gifts, memorial fund. Dates- 6/59 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, acting director of the Museum and Governor Darden, regarding the Museum director and the Curator of Decorative Arts, who were both on leave to the armed forces during World War II, 1942-44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with and biographical information about Carson Davenport, Virginia artist. Dates- 1936-1944.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Ms. Davis. Subject- visits to \"Faraway Farms\" (Cheek's property) Davis was apparently a housekeeper/caretaker of some kind. Dates- 2/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and donors Mrs. Lincoln Davis, and George Cole Scott and Hildreth Dunn Scott, 1937-43.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., E.M. Davis, III (Curator) and L. Cheek, Jr. Subject-restoration of Mrs. Davis' Flemish painting, gifts from Mrs. Davis, information on Museum Board accessions committee (Mrs. Davis member), etc. Dates- 10/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. Lincoln Davis. Subject- Trustee/Museum business, letter of resignation from Board, etc., 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Elizabeth Nottingham Day and Horace Day, patrons and donors, 1934-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Day's exhibition at the VMFA. Dates- 1/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard to Mr. and Mrs. Horace Day. Subject- Horace Day biographical information, exhibition record, job recommendation, newspaper editorial written by Mr. Day on American Painting, etc. Dates- 1950- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Mr. Howard Dearstyne. Subject- proposed exhibition of Dearstyne's work and speaking engagement, etc. Dates- 11/50-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chamber Music Society, Building grounds committee, gifts, donation. Dates- 1954-65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to the Earl de la Warr. Subject- a visit to Richmond by the Earl, loan of a painting to the Museum exhibition \"England's World of 1607\", etc. Dates- 4/57-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. Marie de Mare. Subject- catalogues of \"Healy's Sitters\" exhibition ( Mrs. de Mare was Healy's grand-daughter), proposed film and biography of Healy by Mrs. de Mare, etc. Dates- 5/49-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His position as Art Director of AIV, music and dance folders. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from D. Nichols (administrator), F. Haseltine (PR). Subject- VMT subscription, Executive Committee Report, Collections Activities, Public Information Report. Dates- 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- information about an exhibition scheduled From Nov.22-Dec.31, 1955 featuring merchandise available for purchase in time for Christmas. Dates- 9/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Traveling exhibition. Dates- 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- International Traveling exhibition. VMFA and Leslie Cheek were the American coordinators from 1951-1954. Lists of attendees at the opening dinner 1/15/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Design in Scandinavia\" exhibition checklist, description of the exhibition, official record of receipt and list of items received but not included in exhibition, etc. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- RSVP's to dinner held on the opening night of the exhibition \"Design in Scandinavia\". Dates- 12/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., Mrs. J.G. Pollard and M.B. Christison. Subject- exhibition catalogue information for \"Design in Scandinavia\" and RSVP's for dinner held on the opening night of the exhibition. Dates- 12/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- American Tour 1954-57. Correspondence and publicity regarding. AFA took over the circulation of the exhibition.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committees in the United States. Lists of members and minutes from meetings 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Favorable reviews of the exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copy of a New York Times article written by Cheek concerning the upcoming exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening of the exhibition at the Museum, January 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- dinner guest lists, menu, planning for opening night dinner for \"Design in Scandinavia\" exhibition, list of Board of Trustee committee appointments 1953-4, registration for Southeastern Museums conference 1953, etc. Dates- 12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- RSVP's for the dinner and other opening events for the exhibition \"Design in Scandinavia\", exhibition catalogue, information used in planning printed material for the exhibition, etc. Dates- 4/53-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject-job description of a designer for the Design and Construction division of the Museum, proposed hiring of a designer, etc. Dates- 2/54-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- floor plan and printed matter for \"Designer-Craftsmen USA\" exhibition, photos of the exhibition, VMFA Member's Bulletin vol.15, no.5 (1/55), etc. Dates-11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Strauss. Subject- 25th Anniversary, draft of appeal to enlarge endowment fund, pamphlet. Dated- 6/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for a diorama in connection with \"Orientations of Virginia's Cultural Background\", photographs. Dates- 7/61 - 6/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resolution by the Executive Committee to authorize excess travel cost by VMFA staff. Dates- 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trip itinerary, pamphlets. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Fowler, D. Nichols, B. Ryan. Subject- All manner of VMFA operation: photography budgets, payroll dispersal, VMT renovation, Artmobile, damage and security of Art works, gallery installation, loans, art purchase invoices, Theatre contract, repairs and modification invoices, grievance procedure, pamphlets, Interpol investigation of Indian sculptures, requests for establishing new positions: Vice Director for Public Affairs and Artmobile curator. \"Partnership Agreement of Artco and Company\", \"Operation Countdown\", analysis of responsibilities and time required for completion of the North Wing. Photographs, pamphlets, announcements. Accessions and gifts: 17th C. Eng. Embroidered Casket, Byzantine Bronze Plaque, Tomato Soup Can (A. Warhol), Bolt of Lightening (R. Lichtenstein), Portrait of a Lady, Payne Collection. Dates- 1/68 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, F. Haseltine, D. Nicholas, J.M. Brown, P. Near, A.W. Stalnaker, B. Ryan, Mrs. Pollard. Subject- All manner of inter-museum operations: Public information schedules, membership campaign, promotion deadlines, travel itineraries, budget proposals, etc. P. Nears observations on possible acquisitions. Dates- 7/64 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters of request, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Secretary to the museum, biographical data, job description. Museum files and the law regarding public information, records management, records to be retired, list of file classification: deletions and additions. Events schedules, agendas and exhibitions. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, A. Dohn. Subject- Letter of recognition of donations, list of donors and their gifts of art works. Dates- 1964-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Chenery Estate and Gottwald endowment Fund. Art Nouveau gift of Sydney and Frances Lewis. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMT, Fellowship Fund, Museum Classes, Chenery Estate, Art Nouveau Fund, Artmobile and Gottwald Endowment Fund. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Buyers guides, pamphlets, magazine excerpts, specifications, blueprints, lists of chapters and affiliates, photographs. Dates- 9/61 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, and L. Cheek. Subject- Gift of Dunsten Memorial, Payment record, gallery proposals, \"The Virginia Museum Needs New Wings\": appeal to membership and Trustees for building funds. Dates- 12/46 - 4/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. Alfred I. (Jessie Ball) Dupont. Subject- Donations. Contains a letter regarding her feelings in favor of segregation at the museum and in the arts. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jessie Ball duPont's membership on the Executive Board, gifts and donations. Dates- 5/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Jessie Ball duPont. Subject- Membership as a Trustee, Fellow, Chair of 25th Anniversary Fund drive, contributions and gifts, magazine excerpts, biographical information, contributions and gifts, progress report from Anniversary Fund Drive. Dates- 2/59 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and D. Hudson (state coordinator of Arts System). Subject- Salary scales for VMT, NEA grant proposals. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Exhibitions, Artmobile, VMT, Va. Fellowships, search for potential jurors, work schedules invitations, newspapers, postcards, etc. Accessions and gifts: \"Autumn Leaves\", A. Palmer. Dates- 5/46-5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agenda and letters to K. Fowler of VMT. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Wm. Heartwell and Gov. Holton. Subject- \"Minutes of Economic Resource Task Force Meeting\": 7/23/71, 9/2/71, 10/8/71, 1/13/72, 4/20/72, purpose of task force was to improve communication between various agencies and the governors office. Draft of Executive order: relationship of state agency organizations to Commonwealth planning districts, budget estimates, agendas, Bills held in House Committee for the 1973 General Assembly. Dates- 1971 -72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- C. Guinnan request for a meeting room. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from A. Stalnaker and H. Dohn. Subject- Events for Governors School for Gifted Students: schedule, housing, food service, etc. Dated- 7/73- 8/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between A. Dohn and Mr. Albertia. Subject- Student application, agendas and statement of purpose. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Event to expose students to the function, organization and operation of VMFA, timetable and agendas. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and B. Bothmer (Egyptologist, BMFA). Subject- Invitations, list of Egyptian art objects available for purchase. Dates- 9/54 - 11/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Requests for films and slides, Artmobile, loans for Egyptian Gallery, statement/remarks for opening exhibition, newspaper clippings, blueprints. Dates- 2/55 - 12/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Suggested remarks related to \"Installation of a Gallery of Egyptian Art\", loans from other museums, agendas, letters to other curators and directors. Gift of Egyptian Gallery from Mrs. James Parsons. Dates-2/61 - 4/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- early planning stages of the exhibition \"England 1607\", list of pieces in, list of lenders to the exhibition, installation schedule and exhibition description, printed materials, \"Status Report on the Museum's Jamestown Festival Program\", etc. Dates- 6/54-8/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gallery opening made possible through gifts of china from Lady Nancy Astor, invitations and loan requests. Dates- 4/61 - 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- invitations to these exhibitions: \"Masterpieces of Chinese Art\" and \"Russian Imperial Jewels\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedules 1946, 1946/7, 1949, 1950, Entertainment Committee announcements and replies, committee report 1946, committee roster 1949/50, biographical information on the following Museum guests: Yasuo Kuniyoshi, John W. Taylor, Charles W. Smith, Reginald Marsh and Lamar Dodd, etc. Dates- 1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedule 1946/7, 1950, 1951, 1952, 1953, 1954, Entertainment Committee rosters 1950/1, 1951/2, 1952/3, proposed Friday evening events 1950/1, committee meeting minutes 1952, biographical information about George T. Hamilton, etc. Dates- 1946-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, VMFA Entertainment Committee schedule 1954, 1955, 1956, announcements and minutes of Entertainment Committee meetings 1951, 1953, 1954, 1955, 1956, etc. Dates- 1951-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee roster, Entertainment Committee schedule 1955, meeting announcements, biographical information about the artist Donald Oenslager, etc. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, announcements and replies for VMFA Entertainment Committee meetings, roster of Entertainment Committee, committee schedule 1955, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. Arthur Kelly Evans. Subject- a bequest to the Museum from Mrs. Evans, etc. Dates- 11/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- proposal for fundraising project for VMFA Council in fall 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- 60the Anniversary of the AFA meeting and symposium in Williamsburg, registration forms. Dates- 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agenda, timetable and luncheon for behind the scenes tours by the Council. Date-1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Benefit for the Council Service Fund, program, menu. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Museum in Action\": documentary of VMFA galleries and statewide activities, preview agenda, press dinner, invitations. Producer: Richard Rochement Narrator: Alistair Cooke Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for VMFA banquet services. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Exhibition: \"Treasures from the Norfolk Museum\", Governor's reception, program agenda. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gallery plan, staff assignments and program. Dates- 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reinstallation of the permanent galleries. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Members dinner dance event, invitations, guest list. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Glasgow Estate, Jamestown Tablet. Reception for Committee on Law Celebration. Dates- 12/58 - 4/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Members preview and reception: timetable, program, invitations, gallery plan, etc. Jack Larsen: lecture and biographical data. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of invitation to members of Virginia Chamber Music Society to attend a Theatre-Dinner. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Inauguration of a monthly series of theatre Dinners, guest list, letters of invitation for event and menu. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition: \"Designs for the Theatre\" Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reception for British group of scholars and collectors and travel itinerary. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- A British organization on American Tour. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Meeting at VMFA for NCEW: an organization to stimulate the conscience and quality of the American Editorial page. VMFA Executive committee minutes, biographical data, program agenda. Dates- 7/58 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of request for use of VMFA Gallery for Dinner, agenda, timetable. Dates- 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Tour routes, agenda and schedule of events for reception and letter to new members. Dates- 9/68 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of invitation to reception, tour of museum, agenda, timetable, etc. Dates- 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. Breeden (Membership Chair). Subject- Procedure and agenda for members reception and tour schedule, press release, invitations, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Haseltine. Subject- VMT Premiere performance and promotion. Dates- 5/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- exhibition: \"Treasures of the Norfolk Museum\", program/dinner agenda, invitation, etc. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Arthur Houghton. Subject- Preliminary event outline, layout, program agenda, procedure, invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Annual event to honor corporate patrons: entertainment, decorations, invitation list and suggested remarks to be delivered by President, E. Will. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Private advanced performance of \"School For Wives\", biographical data on Peggy Wood. Dates- 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Rhoads. Subject- Agenda and sample of invitation. Dates- 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Gregory Peck. Subject- Grand opening of Virginia Theatre Arts System, events schedule for preview, Letter from Gregory Peck. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Library reception and banquet for college Presidents attending the Drama Festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner and Theatre Party: agenda, invitations. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters of request and agenda for Theatre Dinner Party. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Rhodes and E.M. Last (Chair, RLS) Subject- Performance of RLS at VMT, ticket sales and cost estimates. Dates- 1/65 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of request for VMFA services. Dates- 4/31/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Robinson House formerly the Scientific Research Organization, VMFA headquarters for LOAS, adult classes and resident craftsperson, Invitation, Historical background, Bulletin vol.24 no.7 4/64 Dates- 8/62 - 3/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Helen Dohn. Subject- Smith College dinner with lecture by Charles Chetham, Director of Smith College Art Museum, agenda, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- The VMFA Council, Theatre Affiliates, President's Dinner. Music, Dance and Film Societies. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The Hospitality and Information Service for diplomatic residents and families. Dates- 1968. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- three day seminar program of multi-level experience in the Arts For exceptional Virginia Youths, agendas, etc. Dates- 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMFA luncheon and tour. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Paintings and drawings by E. Vedder, speaker. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for contributions. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: Hugh Newell Johnson. Reception, guest list and agenda. Exhibition catalog. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Harry Bertoia, Sherman Lee. Subject- General correspondence regarding juror service. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Sherman Lee. Subject- Jury Chair: Sherman Lee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Juror: William Pahlmann. Event program agenda, invitation, guest list, etc. Catalog: \"Virginia Interior Designers 1973\". Dates- 10/72 - 3/73 \"Virginia Interior Designers Reception Fri. 16 Mar.,  1973, 5-7 p.m.\" Subject- Invitation. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, W. Gaines and H. Dohn. Subject- Schedule of events, exhibitions, Bicentennial Celebration. loans, gallery tours, calendar news, Invitation for the \"India In Virginia\" exhibition. Dates- 8/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains minutes, agendas and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas, 1954-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, announcements, agendas and minutes of VMFA Exec. Committee meetings 1955, 1956, etc. Dates- 9/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, VMFA Exec. Committee minutes 1956, list of Exec, Committee members 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and William J. Rhodes, Jr. (President). Subject- Trustee/Museum business Exec. Committee meeting agendas 1954, 1955, 1956, Museum finances (pay scale, Director's allowable expenses, approvals for purchases) VMFA Committee appointments 1956-7, etc. Dates- 6/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. and Col. Henry W. Anderson (President). Subject- Trustee/Museum business, VMFA Exec. Committee meeting minutes 1950, 1951, 1952, 1953, listing of members of the Exec. Committee 1950, 1951, Exec. Committee resolutions 1950, 1951, 1953, By-Laws revised and adopted 1951, etc. Dates- 1950-3. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- Executive Committee minutes, copies of Exec. Committee minutes 1953, 1954, 1955. Dates- 12/53-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Gari Melchers Memorial Committee, VMFA Exec. Committee minutes 1956, list of Exec. Committee members 1956, etc. Dates- 4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Trustee/Museum business, VA Art Alliance, Williams Fund purchase, VMFA Exec. Committee agenda 1952, 1953, 1954. Dates- 5/51-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W. Gaines, R. Velz, M. Christison. Subject- Roster of large Richmond firms and number of employees, invitation cover letter, remarks to be delivered after luncheon. Dates- 9/63 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- lists of proposed exhibitions, events schedule for 1955-6 season, roster of members and schedule of the entertainment committee, drama schedule for Virginia Museum Theatre, etc. Dates- 7/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Notable lecturers and AIV contributors, biographical data. Jurors: Charles Eames, Morris Ketchum and Bert Stern. Dates- 1967 – 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Budgets, loan requests. \"Picasso: A Selected View\", \"12 American Painters\", List of Art Works, biographical notes test for the catalog: \"The Flowering of American Folk Art\". Catalog: \"American Painting 1970 including correspondence with Richard Diebenkorn. Dates- 1970-1974. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Bernard Martins' \"Portrait of Edward Hopper\", \"Walter Gropius - 1883 - 1969\", \"Jose Puig\", projected budget, attendance records, requests for loans, receptions events schedules, etc. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Engineering projects around the world, assembled to illustrate the aesthetic impact of technology. Cost estimates for exhibition, speakers and invitations. Dates- 7/64 - 1/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Outstanding objects in American Museum collections that are gifts or have been purchased with contributions from patrons. Event arrangements/planning. Requests of loans and press releases. \"A Brief History of the Virginia Museum of Fine Arts\", by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition \"Homage to the Square\", signed letter from Elaine de Kooning. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening festivities of the Aldrich Collection of Impressionist and Post-Impressionist paintings and sculpture. Catalogue: \"The Aldrich Collection\", foreword by L. Cheek. Dates- 11/58 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: Bartlett Hayes. VMFA purchases from exhibition. Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: C.V. Donovan. Request for loans from other galleries. Dates- 1962 , 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Al Held. Subject- Juror: Peter Selz. The removal of artwork from the wall of the VMFA for a period of one week in demonstration of racism, war and repression in America. List of paintings to be shipped and installation instructions. Dates- 9/69 - 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Search for a disposable cardboard shelter for use in a traveling sculpture exhibition to the Chapters and Affiliates. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Juried exhibition of Virginia Architects, Designers and Photographers. American Painting exhibition. Dates- 1964, 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt, Sydney and Frances Lewis. Subject- Art Nouveau exhibition: request for loans, lists of objects, opening event agenda, timetable, invitations, etc. Lecturer: Robert Koch. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. H. Bache and P. Near. Subject- Collector-of-the Year: Pre-Columbian gold collection, list of objects, letters to members of Collectors Circle. Dates- 196 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for flags from Embassy of the Federal Republic of Germany. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Kent Bicentennial Portfolio: \"Spirit of Independence\", prints by 12 Contemporary American Artists. Rockefeller Collection of Picasso Tapestries. Dates- 11/74 - 11/75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Phillip Hofer. Subject- Philip Hofer: biographical data and lecture on Blake. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Block as Collector-of-the Year (1967): Collection of 19th and 20th century watercolors and drawings, reviews and agendas. Dates- 10/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum of Modern Art exhibition \"Art Lending Service Retrospective\", lecture by MOMA Junior Council President Lily Auchincloss, lending services, expenses and pamphlet. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibit on ancient Chinese treasures. Date- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases for Virginia's Civil War centennial Exhibition and celebration at the VMFA, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- C. Conger (White House Curator) and his collection of interior furnishings. Heeramaneck Collection. Dates- 1967, 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Blumka Medieval Collection: Preview, program agenda, invitations, etc. Damage report to Gothic Cut Velvet Cloth, Conservators report and insurance claims. Dates- 1/73 - 5/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Exhibition of Tapestries from the House of Edgeworth and paintings, prints and drawings. Lecture, list of objects, PR, gallery plan, invitations, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek's service as a juror for \"International Glass\", gallery plan, photographs, list of jurors choice objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition \"Robes from the Forbidden City\": lecture by Alan Priest on Chinese Textiles. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt and P. Near. Subject- Virginia Photographer 1971, juror: Harry Callahan. Mourot Collection of porcelain. Exhibition schedules, lectures, gifts, loans of art objects, roster of Trustees. Catalog: \"Virginia Artists 1971\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Davies exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and H. Gummerus (Finnish Society of Crafts and Design). Subject- Gummerus lecture on Finnish design. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibition of Tutankhamun. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Bernard Von Bothmer (Brooklyn Museum). Subject- Von Bothmer account of his discovery fo the missing portion of VMFA fragment of Sema-Tawy-Tefnakht. Conservation and restoration of scribe, magazine clippings. Slides and photographs. Dates- 12/64 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. L.J. Dee (Cooper- Hewitt) Subject- Her Lecture to VMFA. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture by Buckminister Fuller, biographical data, catalog, installation, invitations, etc. Dates- 1/59 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contemporary Art forms of Israel. Lecturer: Avid Yafeh. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturer: John Walker. Invitations, entertainment. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Gaines. Subject- Documentation of the making of George Steven's film. Installation, design, floor plans and cooperating agencies. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Herbert Hoffman, Perry Rathbone and Patricia Davidson. Subject- Bill S.2273: to enable works of art and other materials imported for temporary exhibition in non-profit activities to be immune from judicial process. Description of objects for possible acquisition. Exhibition design, installation, VMFA and BMFA gallery plans, invitations, etc. Dates- 9/63 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Rathbone and H. Hoffman. Subject- Loans of Greek gold from the Hermitage and other institutions. Appeals to the State Department regarding Bill S.2773. Dates- 3/64 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Christine Alexander. Subject- Alexander's service to VMFA consultant on Greek and roman acquisitions. Exhibition lecture by Dorothy Kent Hill. Dates- 12/61 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Western art in Virginia collections, loan requests, film series, invitations, program agenda, etc. Lecturer: Larry Curry. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Perry Rathbone and Nasli Heeramaneck. Subject- Installation and acquisitions from the Heeramaneck collection. Lecturer: John Alexander Pope (Freer Gallery), newspaper clippings. Dates- 12/66 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon and Lessing Roswald. Subject- Request for loans, receiving and storage of objects. Event invitations, agenda, etc. Lecturer: Philip Hofer. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and John Koenig. Subject- Proposals for the filming and documentation of an epic film: research, selection, documentation, etc. Proposals were originally made to Samuel Goldwyn and Cecil B. de Mille. Dates- 7/55 - 2/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Goodrich. Subject- Requests for loans from various collections. Text for catalog forward by L. Cheek, and essay by Lloyd Goodrich. Biographical data and newspaper clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Events schedule, agenda, invitations, pamphlets. Lecturer: Robert Doty. \"Portrait of Edward Hopper\" and drawing studies by Virginia painter, Bernard Martin. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Exhibition of art from Virginia Collections to commemorate the 10th anniversary of AIV. Request for loans, invitations, members preview, agenda, list of objects for exhibition. Lecturer: Thomas E. Norton, biographical data. Dates- 7/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Acquisition of Indian art collection. Dates- 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition of works by French artists commissioned by Claude Aveline to illustrate his poem \"L'Oiseau que n'existe pas\". Lecturer: Lawrence Alloway, biographical data. Members Bulletin vol.24 no.8 4.64. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Anne Marie Pope. Subject- VMFA display areas. Date- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt and P. Near. Subject- Art Nouveau Loan, list of Lewis gifts and purchases. Dates- 1971 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and C.S. Hathway. Subject- Lecture search. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Biographical data, agendas, timetables and invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Islamic rugs circulated by the Smithsonian Institute and lecture by McMullan. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J. Baskett and P. Mellon. Subject- List of paintings from Mellon Collection. Gallery preparation, storage, costs, opening festivities, interpretation of exhibition, letters to print media. Press release, newspaper clippings. Lecturers: W.G. Constable, John Baskett and Basil Taylor. Essay- \"Painting In England, 1700-1850\". Dates- 8/62 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Paul Mellon. Subject- Mellon English Painting Collection, early discussion concerning the scope and preparation of catalog and exhibition. \"Letter from Basil Taylor Dated-23 January 1963 re: Mellon Show\", letter of disgruntlement over the various stages of the Mellon catalog. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Basil Taylor. Subject- Mellon Collection of English painting, initial planning stages, lectures, installation, catalog, etc. Dates- 11/61 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Paul Mellon. Subject- Exhibition: \"Painting in England\", program of events, invitations, gallery plan, program, invitation, guest list, etc. Dates- 5/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon and Basil Taylor. Subject- Basil Taylor, advisor tot Mellon collection and author of exhibition catalog: \"Painting in England, 1700-1850\". Catalog foreword by L. Cheek. Dates- 12/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations and dinner programs. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Installation, catalog, security, lecture. List of slides, media coverage. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Remarks by Paul Mellon on exhibition opening, mock-ups of booklet form. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Full color photographic reproduction of the \"Sistine Chapel\", exhibition circulated by LIFE magazine. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Demonstration of mosaic technique using contemporary materials. Dates- 5/54 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Henry Moore. Subject- Aid of Helen Norman (neighbor to Moore) on establishing a dialogue with the VMFA concerning an exhibition and visit by the artist. Preliminary exhibition plans. Dates- 10/57 - 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Henry Moore. Subject- Preview and opening night arrangements, newspaper clippings and press releases. Dates- 5/65 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Neutra. Subject- Exhibition and speaking tour by the artist. Dates- 6/59 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Goya exhibition: request for loans of works by Goya, announcements, invitations, list of paintings, Dr. Priscilla Muller (curator and speaker for exhibition). Program agenda. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturer: John S. Szarkowski. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and James Rorimer. Subject- Exhibition of Contemporary photographs. Biographical data on Ivan Dimitri and A. Hyatt Mayor. Catalog: \"Phototgraphy in the Fine Arts\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- proposed exhibitions, information about traveling exhibitions, etc. Dates- 10/48-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Perry Rathbone. Subject- Pre-Columbian gold with lecture by Allen Wardwell. Dates- 4/67 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Vincent Price as Collector-of-the-Year. Date- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- African collection from the Olsen Foundation. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Una Johnson (Brooklyn Museum). Subject- Contemporary prints from the Brooklyn Museum, invitations and announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition of the American Institute of Graphic Arts 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Gaines, F. Brandt, Anne Marie Pope. Subject- Reinstallation of the permanent collection, estimated exhibition costs, Heeramaneck collection, list of exhibitions available form International Exhibitions foundation. Exhibition catalog: John Kelly Fitzpatrick\" , photographs. Dates- 9/68 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Quillian. Subject- Exhibition of Randolph-Macon Collection. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program agenda for reception, exhibition, gallery plan. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions of Chinese Textiles from Minneapolis Institute of the Arts. Lecture by Alan Priest. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposed gift of \"Gates of Hell\", from the Cantor Collection. Exhibition \"Study of a Woman's Torso\". Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Rosenwald as Collector-of-the-Year, 1965. \"Master Prints From The Rosenwald Collection\", introduction by Rosenwald for the exhibition checklist. Dates- 12/64 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Corrected draft by L. Cheek. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Rosenwald. Subject- Personal invitations from L. Cheek. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition announcements. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of events for the season. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Paul Tishman. Subject- Exhibition from the Tishman Collection, letter of invitation, installation, Council lecture/luncheon. Speaker: Dr. John Akar, Ambassador of Sierra Leone. Remarks by J.M. Brown and Tishman, announcements and biographical data, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing lists for colleges, museums, etc. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek tour of England to photograph Elizabethan Houses. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Presentation of various forms of Arts of England during Shakespeare's life in commemoration of the 4th Centenary of his birth. Requests for loans of Elizabethan objects, press release, installation, etc. Dates- 8/63 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Exhibition of 19th and 20th century paintings, reception and event announcements. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon (Exhibition Chair) and Wm. Constable. Subject- requests for loans, French and British sponsors of exhibition including Queen Elizabeth, Honorary Committee Members, Patrons, catalog, PR, object damage report. Basil Taylor as special advisor to exhibition. Dates- 7/58 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Consultation on exhibition proceedings, travel and lecture schedule, biographical data and text for introduction to the catalog. Dates- 4/60 - 7/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Basil Taylor, Paul Mellon and A. Eiseman. Subject- Catalog layout, printing, design, budget, cost estimates, contributions. Essay- \"Classic Horse Paintings\", foreword by L. Cheek. Dates- 1/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Recipients of free catalogs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- William George Constable and his lecture for exhibition, biographical data, Bulletin vol.20 no.8 4/60. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of British sponsors, loans, selection committee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Mailing list, opening event, program and list of lenders to exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and John G. Pollard. Subject- List of sponsors, reception: program, agenda, menus, etc. Newspaper clippings. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibition in commemoration of Stravinsky's 80th birthday with related settings and costumes created for his ballets. Dates- 4/61 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Exhibition of contemporary prints and multiples (3-dimensional objects of limited editions), Lewis contributions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Railey Collection of European and Asian seals, Fisher Collection of paintings and exhibition of Ruth Safford: \"Interiors of Famous Houses\". Dates- 8/61 - 2/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt. Subject- Problems with exhibition objects. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Damage report of exhibition objects. Dates- 11/63  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Loans of objects from Pierpoint Morgan Library. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Extension of Tutankhamen exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sample invitation and preview guest list. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- List of objects available for loan and prices. Exhibition announcements, gallery floor plan. Lecturers: Gerald Nordland and Hilton Kramer. Dates-1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibit from MOMA: \"Form In The Animated Cartoon\". Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to M. Christison. Subject- Unavailability of Van Gogh exhibition. Dates- 8/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Philip Johnson. Subject- Jurors: Carroll Meeks, Richard Di Natale and Hans Namuth. Official entry forms, exhibition announcements, biographical data. Dates- 10/61 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Gyorgy Kepes, Philip Johnson and Ivan Dimitri. Invitations, guest lists, biographical data and entry forms. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- 1st Biennial exhibition.  Juror: Romaldo Giurgola.  AIA reception and dinner, program agenda, biographical data, invitations, pamphlets and exhibition catalog. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Sherman Lee, Harry Bertoia, Bernard Perlin. Collectors reception, purchase of artist work by Trustees, invitations, entry forms, etc. Dates- 12/57 - 2/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Near. Subject- Reception for purchasers of art works from the exhibition, and catalog. Dates- 1957, 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters to Artist on their award by the jury. Exhibition catalog, juror search and entry forms. Dates- 1959, 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Carl Wienhardt Jr., Mary Callery and Robert Vickrey. Salon des Refuse's on view at Thalhimer's, events schedule and exhibition catalog. Dates- 6/64 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: William Seitz. Installation, list of purchases, invoices, PR, invitations, guest lists, etc. Acquisition from Lewis Fund. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Gordon Bunshaft and A. Bodine. Entry forms and recipients of certificates of Distinction. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Exhibition to travel to Charlottesville. Dates- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture by Dorothy Miner, announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and Mr. John G. Hays (Chairman of the Expansion and Development Committee). Subject- Trustee/Museum business, formation of the VMFA Expansion and Development Committee, report of the chairman, etc. Dates- 11/47-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and P. Crum (Curator) and College of William and Mary. Subject- W\u0026M students visit to VMFA, loan from W\u0026M for a VMFA traveling exhibition, arrangements for traveling exhibitions to W\u0026M, etc. Dates- 2/41-7/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Education and Exhibitions) and Longwood College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Farmville State Teachers College, etc., 3/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- information on VMFA traveling exhibitions and an organization membership, etc. Dates- 7/48/8/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Art Club. Subject- arrangements for VMFA slides and traveling exhibitions to LAC, etc. Dates- 3/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Lynchburg College, etc. Dates- 1/49-2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Teacher's Club. Subject- arrangements for traveling exhibitions and slides to LTC, etc. Dates- 3/46-2/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Madison College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Madison College, etc. Dates- 12/47-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.C. McGehee (Assistant in Education Dept.) and Martinsville City schools. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Martinsville City schools, etc. Dates- 9/51- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Mary Baldwin College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to M.B. College. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Mary Washington College. Subject- arrangements for traveling exhibitions to M.W. College, arrangements for lecture by Christison at M.W. College, etc. Dates- 3/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Middlesex County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to MCWC, arrangements for lecture by Christison for MCWC, etc. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Narrows Woman's Club. Subject- arrangements for traveling exhibitions to NWC, etc. Dates- 10/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Newport News Woman's Club. Subject- arrangements for traveling exhibitions to NNWC, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Education and Exhibitions) and Norfolk Museum of Art. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to NM of A, exchange publications, etc. Dates- 1/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H. Lloyd (VMFA State Services) and Richmond County Junior Woman's Club. Subject- arrangements for filmstrips to RCJWC, shipping instructions, etc. Dates- 10/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Roanoke County Woman's Club. Subject- VMFA traveling exhibition checklists, request for information about organization membership to the Museum, etc. Dates- 4/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H. Lloyd (VMFA State Services Dept.) and Rockingham County public schools. Subject- VMFA traveling exhibition and slides checklists, arrangements for traveling exhibitions to Rockingham Co. Public schools, shipping instructions, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between E.L. Kallop (VMFA State Services Dept.) and Scottsville High Scholl. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions and slide sets to Scottsville HS, shipping instructions, etc. Dates- 9/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Sedley Woman's Club. Subject- notification of installment of Mrs. N.B. Rollings as chairman of Fine Arts Dept. of SWC, Date- 12/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Smithfield P.T.A. Subject- art material for Smithfield schools, Date- 11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H.V. Rennie (Assistant in Education Dept.) and Southern Seminary and Junior College. Subject- schedule of VMFA traveling exhibitions to Southern Seminary and Jr. College ('46) and arrangements for traveling exhibitions to Southern Seminary and Jr. College, etc. Dates- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Hart (Extension Dept.) and St. Catherine's school. Subject- VMFA traveling exhibition checklists, schedule for traveling exhibitions to St. Catherine's, etc. Dates- 1/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and St. Christopher's school. Subject- schedule and arrangements for VMFA traveling exhibitions to St. Christopher's, etc. Dates- 9/48-11/48.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Staunton City School Board. Subject- arrangements for traveling exhibitions to Staunton City School Board, etc. Dates- 1/52-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various Education Dept. staff and Stony Creek Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SCWC, etc. Dates- 2/47-1/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various VMFA State Service Dept. and Education Dept. staff and Stratford College. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to Stratford College, shipping instructions, etc. Dates- 8/48-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition checklists, schedule and arrangements for traveling exhibitions to Stuart Hall, shipping instructions, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director of Collections and Education) and Suffolk Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SWC, etc. Dates- 8/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Surry Woman's Club. Subject- arrangements for tour of the Museum and traveling exhibitions to SWC, etc. Dates- 10/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Sweet Briar College. Subject- schedule and arrangements for traveling exhibitions to SBC, shipping instructions, etc. Dates- 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Service Dept. staff and Tazewell Parent-Teacher Association. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions, slide sets and filmstrips to Tazewell Parent-Teacher Association, shipping instructions, etc. Dates- 11/52-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Thomas Jefferson Junior Woman's Club. Subject- request and suggestions for speakers for TJJWC, etc. Dates- 7/47-9/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA and Thomas Jefferson Woman's Club. Subject- arrangements to visit, tour and hold a meeting at the Museum, etc. Dates- 11/40-1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Three Arts Club of Blackstone. Subject- arrangements for filmstrips for TAC of B, shipping instructions, etc. Dates- 12/52-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- address of Mrs. Woods, President. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Toano Woman's Club. Subject- arrangements for holding a meeting at the Museum. Dates- 1/50-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and University of Richmond and Westhampton. Subject- arrangements for traveling exhibitions to U of R, shipping instructions, etc. Dates- 3/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- catalogues from the UVA Extension Dept. including the following: Famous Italian Paintings, Famous Flemish Paintings (Reprints from Seventy Famous Paintings by Adelaide D. Simpson (1927), The Story of Venetian Painting by Mrs. Stringfellow Barr and Cecily B.D. Ryder (1928) and Catalogue of Art Prints and Books (1937), etc. Dates- 1927-1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to UVA, shipping instructions, etc. Dates- 10/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and University of Virginia Museum of Fine Arts. Subject- checklists for traveling exhibitions sponsored by VMFA and UVA, the following publications by UVA: \"Twenty-five Contemporary Artists of Cleveland, Ohio\", \"Hugh Breckenridge\", \"Contemporary Artists of Virginia\", \"Contemporary Artists of Albemarle County and The University\", \"Alexander B. Trowbridge and Olin Dows\" and \"Elinor F. Hopkins\". Dates- 4/34-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.Y. Casey (Assistant in Education Dept.) and Upper King William County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to UKWCWC, shipping instructions, etc. Dates- 3/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Valentine Museum. Subject- information about becoming organization members of VMFA, a loan to VMFA from the Valentine, listing of the Valentine's activities, etc. Dates- 10/35-9/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and VA Education Association. Subject- Virginia Education Association art section meetings, etc. Dates- 2/47-10/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and VA Federation of Woman's Clubs. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VA. Federation of Woman's Clubs, VA Federation of Woman's Clubs yearbook ('47/8) and Directory ('48/9), etc. Dates- 1/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA traveling exhibition checklist. Dates- 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Virginia Polytechnic Institute. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to V.P.I.'s Architectural Department, etc. Dates- 6/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Virginia State College (Norfolk Division). Subject- checklists for VMFA traveling exhibitions, arrangements for traveling exhibitions to VSC, shipping instructions, etc. Dates- 10/52-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and the Extension Dept. and VA State University. Subject- schedule of VMFA traveling exhibitions to VSU 1945-7, arrangements for traveling exhibitions to VSU, etc. Dates- 6/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Va. Teachers' Association. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VTA, arrangements for a lecture by Christison to VTA. Dates- 12/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Virginia Union University. Subject- VMFA loans to VUU's art festival, arrangements for traveling exhibitions to VUU, etc. Dates- 1946-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between E.L. Kallop (State Services Dept.) and Wakefield Woman's Club and P.T.A. Subject- checklists for VMFA traveling exhibition, arrangements for traveling exhibitions to WWC and P.T.A. Dates- 9/51-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Warren County High School. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Warren Co. HS, shipping instructions, etc. Dates- 10/46- 5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between O. Hart (Registrar) and Warwick County School Board. Subject- arrangements for traveling exhibitions to Warwick Co. Schools, etc. Dates- 1/49-4/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Warwick Woman's Club. Subject- arrangements for traveling exhibition to WWC, etc. Dates- 10/48- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Washington and Lee University. Subject- checklists of VMFA traveling exhibitions, arrangements for traveling exhibitions to W\u0026L, etc. Dates-1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Waverly Woman's Club. Subject- schedule of VMFA traveling exhibitions to WWC ('46), WWC visit (with lecture) to VMFA, etc. Dates- 3/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA staff and West Point Schools P.T.A. Subject- arrangements for traveling exhibitions to West Point Schools, etc. Dates- 12/50-6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various Education Dept. staff and Westmoreland Woman's Club. Subject- arrangements for traveling exhibitions to WWC, etc. Dates- 1/48-3/49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and William Campbell High School in Naruna, VA. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wm. Campbell HS, shipping instructions, etc. Dates- 12/52-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and various Education Dept. staff and Wilson-Jackson P.T.A. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wilson-Jackson P.T.A., etc. Dates- 1/47-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.T. Rhodes (Assistant in Education Dept.) and Wytheville County schools. Subject- arrangements for traveling exhibitions to Wytheville Co. schools. Dates- 4/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Wythe Woman's Club, Hampton. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC. Dates- 8/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education), various Education Dept. and State Services staff and Wytheville Woman's Club. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC, etc. Dates- 5/49-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Y.W.C.A.-Richmond. Subject- holding a meeting (with a visit and lecture) at VMFA. Dates- 4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Young Woman's Club of Williamsburg. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to YWCW, shipping instructions, etc. Dates- 12/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.Y. Casey (Assistant in Education Dept.) and VMFA State Services Dept. and Zuni Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to ZWC, etc. Dates- 8/50-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\". Dates- 12/54-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\", note-included in these files: slides from Williams College of Art. Dates- 1947-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Chairman of the art department Williams College. Correspondence and biography 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fashion Show in cooperation with Miller and Rhoads Dept. Store and Harpers Bazaar magazine to benefit the VMFA Council, Education Fund, Council dinner, event plans and program catalogue. Dates- 12/55 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- the Fashion Festival of Arts and Flowers presented by the VMFA Council in cooperation with Miller and Rhoads Department Store, attendance lists, newspaper clippings, etc. Dates- 3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between national director and Thomas Colt, who was the State Director of the Federal Arts Project, 1935. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Federal Emergency Administration of Public Works regarding a grant to construct an additional wing to the Museum. 1935-38. More applications from Museum for funds from the Federal Emergency Administration of Public Works to complete projects such as casting a bust of John B. Payne and landscaping grounds. 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Federal Emergency Administration of Public Works and Virginia Commission for the Arts material, mostly on landscaping the grounds of the Museum, 1936. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Federated Arts Council of Richmond dinner and agenda, invitations. Dates- 2/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- Committee reports, events schedules, annual meeting 5/29/74, \"Festival Of The Arts\", 18th annual report, Dogwood Dell June-Aug'74. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Awards Dinner agenda, letters of confirmation, thank-you's, etc. Dates- 12/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T.C. Colt, Jr. Subject- listing of and letters to prospective fellows (founding fellows), a copy of the constitution 4/55. Dates- 3/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospects for new membership program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Conservation Laboratory, Library Endowment, Fellows Weekend, orientation theatre, contributions and projects, statement of purpose, agendas, biographical data. Resolution in memory of Lewis Strauss. Dates- 1964-79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Fellowship Committee minutes 1942, 1948, 1949, 1950, Fellowship Committee agendas 1950, 1951, committee report 1949/50, Fellowship Committee announcements and replies, listing of fellowships given by the Virginia Museum of Fine Arts 1940-51, etc. Dates- 1942-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Aplicant interviews procedure. Date- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellowship Fund income account, application, letters to recipients: Primm Turner, Jenny- Lynn Franklin and John D. Norwood. Dates- 5/54 - 5/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Essay- \"Outline for a Proposed Film for the Virginia Museum of Fine Arts\" by Vavin, Inc. 3/60.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1947, 1948, 1950, Finance Committee meeting minutes 1948, 1949, 1950, letters soliciting opinions from Trustees about stock purchases and committee resolutions and replies, VMFA Pooled Endowment Account 1949, stockholder information , etc. Dates- 1947-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1950, 1951, Finance Committee meeting minutes 1952, committee report 1950, status of capital funds listing 1950, list of securities held and cash balances, financial transactions, etc. Dates- 1950-2. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1952, 1953, Finance Committee resolutions 1953/4, Capital Funds Investments and Cash listings 1952, 1953, stockholder information, financial transactions, etc. Dates- 1952-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1955, Finance Committee resolutions 1954, a listing of Finance Committee meetings and actions in writing 1948-56, financial transactions, stockholder information, statement of endowment investments 1955, pooled investment listing 1955, investment changes for the period 4/30/55-12/31/55, etc. Dates-1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Lawler Fund. Dates- 10/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- stockholder information (i.e. annual and quarterly reports of companies). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee resolutions 1948/9, excerpts from Finance Committee meeting minutes 1939, 1951, Date- 3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from A. Nicholas. Subject- Statements of income, balances, private income, special purchase funds, operating budget, etc. \"Virginia Museum Semi- Annual Financial Report Dec. 31, 1970\" , \"Summary of Financial Support\": 1935- March 31, 1971, 19l35- June 30, 1969, Art Purchase Funds, Capital Outlay Programs to purchase land and buildings, List of Art Purchases 1970-71. Dates- 6/70 - 10/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and G. Martin. Subject- Responses to questionnaire from various theatre directors, VMT regulations. Dates- 1965 -66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT Statement of Purpose, application for Samuel Tate Morgan and/or George Seay Memorial Trust Funds. Letter of grant award for the expansion of VMFA Library holdings and list of books purchased, newspaper clippings. Dates- 5/69 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Administrator, Richmond Area University Center. Correspondence with 1949-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Memorial for Col. Herbert Fitzroy, letters of receipt of contributors to purchase a sculpture to be placed on permanent exhibit in Artmobile II: \"Crowing Rooster II\", G. Marcks. Dates- 10/67 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- information about proper display of U.S., U.N. and VA flags. Dates-11/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns cultural development there. 1957-59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Agreement on the Importation of Educational, Scientific and Cultural Materials\", Bill signed on 6/24/59, press release. Unesco sponsored agreement to eliminate tariffs and special import taxes on educational, scientific and cultural materials. Dates- 9/59 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Horace S. Flournoy. Subject- repair of heating system at the Museum. Dates- 10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- plantings around the Waddy Fountains at the front of the building, lawn and plant care, listing of growing plants used, etc. Dates-6/54-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA staff and Harvard University's Fogg Art Museum, mostly regarding the loan of a Copley portrait for the Museum's inaugural exhibition, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, J. Coolidge (Dir., Fogg). Subject- General correspondence regarding conservation, authenticity of objects, employment referrals, research, etc. Dates- 4/52 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for Folktale Marionette Theatre to perform at VMFA in Dec.1953, etc. Dates- 3/53-1/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- visit of Mrs. Henry Ford II, to see VMFA operations. Dates- 3/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about a Virginia artists watercolor exhibition sponsored by the Ford Foundation Title \"Virginia by Virginians\", copy of an invitation to Mr.and Mrs. Ford to the opening, etc. Dates- 1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- newspaper clippings and statement of purpose of the Ford Foundation. Dates-12/48-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Ford Foundation. Subject- proposal of VMFA serving as regional center for Ford Foundation's creative artists selection program 1958, proposals for Foundation support, Foundation publications, etc. Dates- 10/50-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Ford Foundation. Subject- information about applying for Ford Foundation support, Foundation publications, etc. Dates- 10/59-10/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program for Painters, Sculptors and Related Artists. Letters to jury members, entertainment. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and the Ford Foundation. Subject- the Museum as a locale for the premiere art exhibition to be featured in the March issue of the Ford Times, an exhibition highlighting VA artists named \"Virginia for Virginians\", included are copies of the exhibitions' gallery guide, invitations to the preview and a copy of the Ford Times feature issue. Dates- 11/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and American Association of Museums (AAM). Subject- roster of foreign museum Directors visiting VMFA on a AAM sponsored tour (in cooperation with the State Department), biographical information on visitors, etc. Dates- 3/65-5/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to VMFA staff. Subject- memos about arrangements for luncheon held at Museum for international newspaper people. Dates- 6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal for VMFA travel program, tour estimates and brochures. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition preview speaker: Ariad Yafeh, biographical data, reviews and photographs. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Guest lists for opening event, sample letters for invitations and replies. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices, Cheek serving as honorary member of advisory committee of Directors and Curators, etc. Dates- 3/52-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Keith Fowler. Subject- theatre operations, policies, programming, newsletter to friends, volunteers and theatre subscribers, etc. Dates- 10/69-12/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between William Francis and L. Cheek, Jr. Subject- Museum publications business and arrangements, etc. Dates- 12/64-9/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Governor Peery, T.C. Colt, Jr. and Douglas S. Freeman, president of the Confederate Memorial Institute. Subject- Transfer of the John B. Payne collection from the Battle Abbey to the museum. Dates- 1935-39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. Subject- mostly professional matters, but some personal information is given. Dates- 1948-53.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and French and Company. Subject- French and Company, Inc. art dealers, loans, conservation work, proposed sales to Museum, photos and descriptions of objects, etc. Dates- 6/46-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject- photo requests from the Frick Art Reference Library, reference questions, exchange publications, etc. Dates- 2/46-9/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Friddell was columnist for the Richmond News Leader. Correspondence with Cheek, 1949-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- memo about calendar of Museum events, mailing to American Ballet Theatre Friends, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Preparation plans for \"George Stevens Makes a Film\", an exhibition based on the making of an epic film (The Greatest Story Ever Told), installation, cost estimates, etc. Dates- 1/64 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Search for Egyptian objects to purchase, exhibitions: Sport and Horse and American Folk Art, College Drama Festival, loan of P. Klee works, collectors circle, Biographical data, Fellows, donation, gifts, Segregation in VMT, background information on paintings for Wm. Henry Yates, Marshall Research Library, Poetry Society of Virginia, Glasgow Estate. Accessions and gifts: \"Tree\", H. Gray; E. Hopper; Rutherford Goodwin, Jr.(signature). Dates- 1/55 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General museum business, inter-museum memos. Richmond Sinfonia, special purpose gallery, exhibition policy. Museum television, funding sources, COVAO conference, sale of Artmobile I, Council, newspaper clippings, pamphlets and funds generated through programs division, letter from Robert Indiana.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Bill (William) Gaines (head of Programs Division). Subject- programming educational, exhibitions, films, affiliates, etc., Museum operations, etc. Dates- 3/70-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Acquisitions, objects for purchase consideration, various newsletters, exhibition catalog: \"Nature As Scene\". Dates- 4/76 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with other museums. Subject- exhibition announcements, information about loans to other museums, etc. Dates- 3/53-3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Dir. for Collections and Education) and Mr. Charles Seymour (Yale University). Subject-request to look at the Museum's collections. Dates- 2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Col. Edgar Garbisch and L. Cheek, Jr. Subject- gift to VMFA-Junius Brutus Stearns paintings of life of George Washington, photos and information about paintings, biographical information about Garbisch, etc. Dates- 1/50-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for the 50th anniversary dinner of Garden Club held at VMFA, etc. Dates- 9/68-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the Garden Clubs of Virginia and America 1958-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Mrs. T. Fleetwood. Subject- Mrs. T. Fleetwood as a Trustee, Trustee business, gift to Museum, etc. Dates- 5/64-7/75. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Landscape Architect for Museum. 1957-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by John Garland Pollard, Jr. Subject- invitation to members of General Assembly to use Museum facilities, announcement of a reception for General Assembly members spouses, VMFA Members' Bulletin vol.20, no.5 1/60. Dates- 1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters sent to members of the General Assembly 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Gibbes Art Gallery. Subject- Brown working on problems of the Gibbes Art Gallery, \"Report to the Board of the Charleston Art Association\" co-written by Brown, etc. Dates- 12/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee, Executive Committee. Dates- 1950-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mr. George D. Gibson as Trustee, Trustee and Local Building Committee business, copies and excerpts from minutes of the Executive Committee 1948-53 dealing with VMFA building, news release 6/57 about Gibson being elected VMFA President, etc. Dates- 12/52-11/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. George D. Gibson, a lawyer with Hunton, Williams, Gay., Moore and Powell. Subject- flooding at the Museum, building inspections, structural problems with the building, the shipment of a Watteau painting to VMFA, a Melchers gift, etc. Dates- 7/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- acknowledgments of receipt, thank you letters to donors for gifts of all kinds (money, books, equipment, etc.,). Dates-11/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Arthur G. Glasgow. Subject- gifts to Museum, Museum events, information pertaining to the Estates of Margaret Branch Glasgow and Arthur Graham Glasgow. Dates- 2/54-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., J.M. Brown and Walter S. Robertson (VMFA President). Subject- transcript of remarks by Governor Mills E. Godwin, Jr. at Southeastern Theatre Conference 1966, Museum events, Mrs. Godwin to serve as honorary chairman of Entertainment Committee, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- President of Princeton University. Request for him to lecture at Museum. Dates- 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Associated Artist Gallery, Washington, D.C. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for Theatre Director-Producer 1957.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Pollard was a member of the Goodwin Memorial Commission appointed by the state to erect a scroll honoring the Reverend William Archer Rutherfoord Goodwin, former rector of Bruton Parish Church and man who dedicated his life to the restoration of Colonial Williamsburg, 1950-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Mr. F.D. Gottwald. Subject- agreement and arrangements to establish Elisabeth Shelton Gottwald Fund. Dates- 4/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- copy of report on Museum, recommendations to Museum made by Governor's Management Study Group. Dates-7/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Mills Godwin and Peter Mooz. Subject- Budgets: cutbacks, executive order, appointments to VMFA Executive Board, creation of job positions, Museum organization charts, Melchers Estate, Arts Commission, Executive Mansion furnishings and lists of objects. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for unveiling (10/5/71) of new acquisition of Goya's painting- General Nicholas Guye guest lists, invitation, news releases, photo and information about painting, etc. Dates- 9/71-2/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- \"General Guye\", Goya. Special event, agenda, invitations, etc. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with John Graham (Curator, Colonial Williamsburg). Dates- 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Related to the death of Mr. Gray and his family. His bequest to the Museum and a memorial to him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Horace Gray, Trustee. Subject- Museum business, biographical information about Horace Gray, VMFA Members' Bulletin vol.19, no.6 (2/59), etc. Dates-5/51-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about hiring Mr. Paul Grigaut as head of Collections Division, Museum practices, information about Museum Collections catalogues, etc. Dates- 6/62-4/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Theft-general. Contains one newspaper clipping 5/28/62.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- correspondence with Senator Raymond R. Guest, announcement of gift to Museum of bronze gates, Museum events and business, etc. Dates- 11/48-5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and L. Cheek. Subject- List of sites for guidebook , roster of names for nominating committee, letters to publishers, price structure, biographical data, promotional information, outline for publication by the Trustees for \"An Official Guide To Four Centuries Of Building In The Old Dominion\". Dates- 4/66 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Finnish Society of Crafts and Design 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt, F. Haseltine. Subject- Installation of \"Symbol\" at Phillip Morris site, invitation mailing list, reception agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, F. Haseltine, P. Near. Subject- Exhibitions, VMT, loans, gifts, endowments, biographical data, invoice for work restored, acquisitions, installation of Heeramaneck Collection, Pastorale fund, Project Grant Application, Tax Status. Essay- \"A Brief Summary of Accomplishments of the Virginia Museum of Fine Arts\", 1962-64. Dates- 9/51 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mr. Haller was a public relations consultant hired under special circumstances and kept off of the state payroll. This letter pertains to this and circumventing the state system 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and S. Robertson. Subject- AAM meeting in Williamsburg, increase in security staff at VMFA, Artmobile, Executive order from the Governor's office to divide the Board of Trustees into five divisions. Request for authority to prepare Capital Outlay Plans for South Wing, invitations to serve on various committees, presentation of Webster S. Rhoads award to Gov. Harrison, newspaper clippings. Dates- 5/61 - 11/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Public Buildings Administration (Federal Works Agency). Subject- Harrisonburg post office mural competition (Colt served on the jury of selection and advisory committee) and contract with Public Buildings Administration. Dates- 2/41-10/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek's 25th college reunion and an art exhibition in conjunction with the reunion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Melissa Hayden and Andre Eglevsky. Dance performances at the VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. John G. Hayes, Sr. Subject- Trustee/Museum business, money to the John G. Hayes Endowment Fund, etc. Dates- 11/49-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. J.G. Pollard and W. Rhoads. Subject- John Green Hayes Memorial Fund. Dates- 5/48 - 11/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of appeal from VMFA to Hearst Foundation for financial assistance. Dates- 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Biographical data, press release and his presentation to the AAMD, newspaper clippings. Dates- 4/62 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lecturer for the Latin American Exhibition 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT: tour schedule, HEW grant proposal, \"A Cultural Program in the Dramatic Arts for Virginia High School Students\", newspaper clippings, postcards, reviews, project budget, financial support. Dates- 5/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Travel Itinerary, loans , VMT productions, collectors circle, LOAS (Loan-Own Art Service), search for prospective jurors, letter to Helen Hayes to address VMT, biographical data, gallery plans, invitations to preview Hogarth exhibition. Dates- 9/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for luncheon and agenda. Dates- 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Request for VHS to hold annual meeting. Dates- 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Col. Hodges (Membership Chair). Subject- Trustee/Museum business, Hodges served as the Chairman of the VMFA Membership Committee, etc. Dates- 11/35-3/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA Bulletins: vol.26 no.3 and vol.27 no.6. Hogarth lecture to VMFA, itinerary, biographical data, Wm. Blake exhibition. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for Theatre Director 1957. Contains resume and letters to, from, and about him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, P. Davidson, and P. Rathbone. Subject- Exhibition: \"Treasures of Alexander\", request for loans, list of objects in connection with exhibition, installation design, theft of Nike Earring. Dates- 9/63 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Term as a Trustee and Fellow at VMFA and as a Trustee at Norfolk Museum, Exhibition: Treasures from the Norfolk Museum. Gifts and donations. Dates- 9/61 - 4/3 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Collectors circle, Fellows, Trustee, gifts and donation. His service as a Trustee at the Chrysler Museum. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on state holidays. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Gov. Holton. Subject- Proposal for a Bill to organize a citizens advisory committee to improve furnishings and interpretation of the Gov. Mansion. Statewide Building Code, Administrative Amendments 1/29/73, Sec. 873.5. List of participants and Museum conference notes to determine how Va. Museums can assist one another, Inauguration arrangements committee, rosters: House of Delegates, Senate and legislature. Essay- \"The Holton Years: A Summing Up 1970-1974\". Dates- 9/61 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Reports from the Honors and Awards Committee and the Board of Trustees, 1948-56. Much of this concerns Mr. and Mrs. A.D. Williams, The Katherine Rhoads Fund and the Webster Rhoads Medal, and Arthur and Margaret Glasgow, letter regarding the Mary Samuel Davies Bright Memorial. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Arts and Humanities Commission, Pratt Estate, Cabell Foundation, Ford Foundation: VMT underwriting. Trustee interviews, gifts of appreciated property. Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings, photographs. Dates- 10/8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and J.M. Brown. Subject- Parsons Fashion Show, slides, pamphlets, newspaper clippings. Dates- 8/63 - 7/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Seating arrangement. Dates- 11/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J. Sweeney and Lee Malone. Subject- \"Design In Scandinavia\", Cheek's remarks. General correspondence concerning museum loans and policy. Dates- 4/63 - 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Miss Nora Houston and T.C. Colt, Jr. Subject- biographical information, information about exhibitions she participated in, proposed acquisition of her work, etc. Dates- 4/36-2/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- U.S. House of Representatives, New York State. Correspondence concerning government support of the arts. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copy of his speech given at the Architectural League Symposium 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Term as a Trustee, membership campaign, budget committee, newspaper clippings. Dates- 5/59 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellow, VMT, Exhibitions, Artmobile, long term loan of 18th C. Dec, Arts objects, Hogarth exhibition, contract bid for landscaping, North Wing. FILM: \"THE ART of THE CONSERVATOR\" Dates- 2/64 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Trustee, Fellow, gifts. Remarks concerning Fellows meeting, Draft of Executive Committee Meeting Minutes, 12/8/70. Official application form for AAM accreditation. Art Nouveau Collection, Council lecture and luncheon with draft of suggested remarks delivered by C. Humelsine. Dates- 1969 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Requests for catalogues, loans, exhibition announcement, proposal for an \"International Traveling Exhibition\", technical info on Ivisiglass. Dates- 4/45 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- RSVP's to auditorium inauguration, thank you notes to musicians used for the opening, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Innocenti and Webel (landscape architects) concerning VMFA grounds. Dates- 7/64 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek, T. Colt and Mrs. Pollard. Subject- Requests for publications, general information regarding VMFA collections, exhibitions and museum operations. Dates- 10/35 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General information on exhibition installations.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains one brochure, 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- insurance against air raids and other war damage, correspondence with other museums about war risk insurance. Dates- 6/42 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. and M.B. Christison (Assistant Dir. for Collections and Education). Subject- damage claims to art objects we lent and/or were on loan to the Museum. Dates- 11/49-11/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuels Collection [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Draft of the Constitution and By-Laws of the proposed Virginia History and Museums Federation. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- ICOM statement of mission, travel expense records, membership and financial statements, pamphlets, Minutes of Executive Committee 1/30/60, 5/25/65, Annual Report 1965, newsletter, pamphlets, etc. Dates- 1961 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual Reports, Statutes, guidelines for International Rules of National Committee, Museum Training Programs, Newsletters, Minutes of Annual Meetings, budget, membership, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Mrs. J. Pope (Pres. IEF) Subject- Invitation to become a member, statement of mission, list of officers, IEF Financial Report 12/31/72, Annual Report 12/1/72, NEA award, catalogue listings, list of traveling exhibitions 1966-72. Dates- 1966 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Anne Marie Pope. Subject- Lists of current and planned exhibitions, events schedules, minutes of annual meeting. Dates- 1973 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Article from \"Preservation News\", 1/71 vol., XI, no.1 and Sunday Supplement from New York Times. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, P. Near, Phillip Johnson. Subject- P. Johnson's advise of design of the New Wing and as possible juror for Va. Biennial. Rotunda Club, Jamestown Festival, Robinson House, Hogarth Exhibition, Jr. League activities, and restoration of downtown Richmond. Photocopy of text from letter between Wm. Fitzhugh to Charles Carter 11/30/1796, pamphlets, donations, gifts. Dates- 12/55 - 12/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Letter of appointment to Executive Board. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 350th Anniversary. 1955-57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on the Museum's contributions to the celebration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek to serve on advisory committee and certificate of award for his service, presentation of Pocahontas portrait for permanent display, \"Report From Sub-Committee, Jamestown Commission\", 10/30/57. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photos of the \"Japanese Architecture\" exhibition, printed material for the exhibition, arrangements for bringing the Japanese Charge d'Affaires to VMFA, transcript of remarks made by Mr. Shima (Japanese Charge d'Affaires) at the opening preview, etc. Dates- 4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Itinerary and agenda for East Meadow High School of East Meadow L.I., New York. Dates- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown. P. Near, A.P. Jenkins. Subject- A.P. Jenkins collection, gifts and contributions, loans, Fisher rug collection, B. Barenson, Ash Lawn, Caligula statue, invitations, agendas etc. \"Art Now: New York\" vol.2 #10, University Galleries, 1970 (contains large color plates). Conceptual statement for Cabrillo Marine Museum. Dates- 8/54 - 9/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Jay W. Johns. Subject- Trustee/Museum business, gifts to Museum, information about an Evelyn Byrd portrait by a disputed artist (Kneller or Bridges), etc. Dates- 6/35-9/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- J. Johns service as a Trustee and Fellow, gifts and donations. Dates- 4/50 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- B. Johnson's (Conservator of L.A. County Museum) observations concerning the authenticity of a Veronese painting and his personal collection of pre- Columbian sculpture and Asian ceramics. Dates- 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and T. Catesby Jones. Subject- Jones' collection of modern paintings and sculptures, gifts to the Museum art and books, letter from Jean Lurcat, etc. Dates- 3/41-12/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The loan of Mrs. Catesby's collection of French Modernists to the VMFA and gifts. Dates- 2/50 - 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from l. Cheek, R. Guest (Fellows, Chair) and W. Robertson. Subject- Her appointment as a Trustee and role as chair of the membership committee. Dates- 7/64 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- State Supervisor of Art, 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- purchase requests for photos. Dates- 3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown. Subject- Agenda and letters of confirmation. Dates- 6/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Volunteers at the Museum, 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of confirmation. Dates- 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Letters of recommendation, resumes, prospective jurors, exhibition: \"Ugliness in Virginia\", Robert E. Lee Memorial, Fellows, gifts, donations, pamphlets. Acquisitions: Artists, Duane Hanson and Stephen Posner. Dates- 4/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Karolik collection of American Painting, Artmobile and Collectors Circle. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Maxim Karolik. Subject- proposed lecture for exhibition \"The Karolik Collection\", printed material for exhibition, etc. Dates- 9/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Illumination exhibition for the American Federation of Arts: proposal, budget, exhibition news, advisory committee and Minutes of 1st Meeting 11/23/64. Dates- 1/65 - 2/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek as member of the Council for the Kennedy Center and Board of Trustees, bulletins, progress reports and newsletters and a letter from Jacqueline Kennedy dated 1/14/66. Dates- 2/59 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and H. Willett (Supt. of Rich. City Schools) Subject- Letter to F. Keppel (Asst. Sec. of HEW) concerning a Math and Science Center. Essay- \"Proposal For a Supplementary Mathematics and Science Center\". Dates- 11/65 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters of request and confirmation, menu and tour. Dates- 8/71 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets: \"The Library - Documentation Project spring 70\" , \"The Urgency of Our Mission\" and \"Statement of Purpose Fall 1969\". Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt, L. Cheek and Harry Brooks. Subject- Requests for publications, provenance of Italian Renaissance painting being considered for acquisition, loans, pamphlets and shipping invoices, etc. Dates- 2/46 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, T. Simmons (Knoll) and Florence Shu Knoll. Subject- Interior design and furnishings of the Members Suite, offices, restaurant and Library, Knoll Catalogue 1956, newspaper clippings. Dates- 2/49 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Portrait commission of L. and Mary Tyler Cheek and his exhibition at the Museum of the City of New York. Information about introduction to exhibition catalog. Dates- 1/63 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Parson's School of Design. Design consultant VMFA 1954-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The creation of layouts of loan exhibitions and permanent displays, agendas, job description, newspaper clippings, biographical data, postcard, etc. Dates- 2/58 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mr. Koenig was a guest promotion director at the VMFA 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to contributors of memorial fund. Subject- Memorial established by the Theatre Associates of VMFA, sample of bookplate in his memory. Dates- 4/62 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuel H. Kress Foundation 1958-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about bill and payments with Kuhn. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile project for the Arkansas Arts Center, \"Let's Go, Reflections on the Art of Administrative Leadership\". Dates- 8/62 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chapters/Affiliates, newsletters, Lectour broadcasts, newspaper clippings, invitations, Lawler Memorial Fund, Artmobile. Artists: Pietro Lazzari, Janice S. Lemen, John Gadsby Chapman, photograph. Dates- 5/58 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Publication requests, gifts, contributions, collectors circle, Fellows, suggested bequest wording, Artmobile, loans, exhibition announcements, NEA questionnaire: \"Conservation in Museums- August 1971\", restoration and condition report of \"Battle of Yorktown\", Lami. Artists: Mario Dubsky and Eugene Berman. Gift and donations: \"La Sympathie\", Pettijean. Date- 11/62 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Port Sunlight, Chesire England.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and the VMFA Board of Trustees. Subject- To prevent the construction of the Valentine Museum's Latrobe Theatre. Dates- 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lecture by Cheek to the College Art Association 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to E. Cless (program Consult., U. of Minn.) Subject- U. of Minnesota Institute on Administration and Services in the Small Art Museum, program agenda, travel schedule, list of registrants for the seminar, report on the panel on museum publications, pamphlets, map, etc. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek to G.H. Holmes (Dean of U. of Pa.). Subject- Urban Criticism, experiences in traveling exhibitions on city planning, resolutions and solutions on urban problems. Biographical data on participants of conference, travel expenditures, agenda. Dates- 7/58 - 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Priscilla Crum to Prentiss Taylor. Subject- lecture by Taylor, Wednesday evening programs schedule 1948, proposed schedule 1947-8, etc. Dates- 9/47-1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison. Subject- prospective speakers, films, etc. for programming. Dates- 10/48-12/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- schedules for Wednesday evening and musical programs. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given by L. Cheek, Jury duty lists, consultations, invoices, expense records, agendas, pamphlets, magazine excerpts, Essay- \"The Place Of The Arts In Our American Culture\", by L. Cheek. Dates- 1953 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given by various members of the VMFA staff. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from D. Nicholas. Subject- Procedure and policy concerning VMFA security.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Monthly newsletters on \"Reflections on the Art of Administrative Leadership\", L.H. Kurtz, publisher/editor. Dates- 9/62 - 11/64, 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, P. Near C. Humelsine, F. Brandt and Wm. Gaines. Subject- Art Nouveau Fund: list of purchases, legal document of fund establishment. Artmobile and contemporary Art Purchase Fund. Dates- 5/67 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Possible sources for the purchase and restoration of the Alexander-Withrow House, Lexington, Va. Dates- 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- D. Liebes (color consultant and textile designer) on proposed text for her essay to appear in AIV and her lecture to be given at the VMFA on crafts and the creation of VMFA Craftsperson - residence. Dates- 4/63 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and E. H. Bushbeck (Kress Found.). Subject- Drawings and description of Dr. Reinhardt's gallery in Switzerland. Dates- 2/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and V. Gaskins (asst. to L. Cheek). subject- Planning of VMFA lighting facilities, \"Art Museum Lighting\", 2/59, excerpt from a journal of Electrical construction and Maintenance. Dates- 2/59 - 9/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal of Library-Museum at Lincoln Center. Dates- 2/59 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ralph Linton Collection of African Sculpture. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for loans of furnishings to other state properties. Dates- 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of loans under consideration, loans to ambassador residences in England and Australia. Photographs. Dates- 2/61 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and director of Louvre. Subject- Poussin exhibition at Louvre and VMFA loan of \"Achilles on Skyros\" and Delacroix exhibition, loan of \"Deliverance of Princess Olga\". Dates- 10/59 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lighting Technician, VMFA, 1953-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and C.B. Lusk. Subject- Lighting instruments and technical drawings. Essays- \"Lusklite as developed and used at the VMFA\" and  \"The Installation and Lighting of Exhibitions at VMFA\" Dates- 8/56 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.R. Duncan and Gordon Huff. Subject- Expansion of Lynchburg Arts Center to become an affiliate, loans for opening gala, suggested text for print media, schedule of events, Artmobile, Lynchburg Arts Center Executive officers. Introductions for L. Cheek and W. Robertson, travel itinerary. VMFA lecture series: Building For The Arts 1965-66, pamphlets. Dates- 5/62 - 7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for \"The National Arts Center of New York University at Washington Square\", Exhibition: \"Tastemakers\", based on R. Lynes Book. Official guest list for opening reception. Dates- 10/54 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, L. Cheek, P. Near and F. Haseltine. Subject- Membership, gifts, personnel references, loans, Jamestown Foundation, proposal for commission of sculpture in F\u0026M Plaza. Acquisitions and gifts: Egyptian cups, Coptic sculpture, Bertoia drawing. Dates- 4/61 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Macbeth Galleries. Subject- loans for inaugural exhibition and general correspondence about proposed acquisitions from Macbeth galleries. Dates- 9/35-7/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Orders and correspondence for back issues of Bulletins and magazines, 1946-47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Alessandro Magnasco, Painting 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing and sign schedules, roster of names and institutions. Dates- 1960 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing and events schedules. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near, D. Isley (Norton Simon Collection). Subject- Press releases, shipping, installation, purchase invoice, info regarding owners of the other castings. Photographs and slides. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Paul Manship. Subject- designing the John Barton Payne medal. Dates- 9/36-10/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Robertson. Subject- His Service as a Trustee, Fellow, and chair of Trustee Budget Committee. Biographical info, Artmobile, 25th Anniversary of VMFA, museum business, financial statements, Education In The Arts. Dates- 12/56 - 5/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Long Island Historical Society. Subject- Provenance, purchase through Glasglow Fund. Dates- 12/55 - 1/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resume, photo, agenda, NEA grant request. Dates- 4/65 - 5/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- M. Baldwin Choir Program, Alumnae issue Bulletin concerning visit of Pres. Eisenhower. Invitations, Fine Arts Center, Woodrow Wilson Project. Dates- 2/56 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Julien Binford. Subject- Mary Washington Arts Center, invitations, VMT, loans of art works, newspaper clippings. Dates- 11/49 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gifts to VMFA. Dates- 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. William R. Massie. Subject- Trustee/Museum business, etc. Dates- 12/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture: John Goldsmith Phillips, biographical data, press release and catalog list. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturers: V. Isabelle Miller and Mrs. Yves Henry Buhler. Press release, publicity schedule and photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- floor plan, instructions for installation for exhibition \"Masterpieces of Chinese Art\", printed material for exhibition, thank you notes to lenders to the exhibition, etc. Dates-11/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for the Theatre Director Position. Contains resume and applications, letters of recommendation etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Director of Public Relations for 20th Century Fox. Speaker at the Museum 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Public Information Division VMFA. 1955-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Director of Vassar College Art Gallery, requests for publications, lecture. Term as curatorial research asst. at VMFA. Dates- 9/53 - 6/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dedication of new Library, loans, invitations, VMT, Farewell gift to Mr. and Mrs. Cheeks with poem. Gifts, contributions, G. Melchers memorial. Dates- 2/60 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- General membership information, loans, press release, invoices, newspaper clippings, etc. Art Nouveau Collection. Letter to L. Marden (residence designed by Frank Lloyd Wright). List of Artists editions: prints and objects from Multiples Inc., NYC, price list and description. Artist: Phillip Lindsay, signature. Acquisitions: Monet, van der Helst and Rodin. Dates- 12/69 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and French and Co., Inc. Subject- pieces sold to and installed in the Museum, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal to establish an Institute of Mediterranean Culture at U. of R. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Carroll L.V. Meeks. Subject- thank you notes for visit to New England personal friendly letters, etc. Dates- 4/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, Mrs. Pennell (Membership Secretary) and Mrs. Gari Melchers. Subject- VMFA members in Fredericksburg, postcards, gift to Museum , etc. Dates- 12/35-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Her service on the Executive Committee, Melchers Estate, budget, gift status of \"Dead Jockey\", E. Degas. Contributions, gifts, newspaper clippings, biographical data. Dates- 4/56 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt (Dayton Art Inst.) and Dr. Higgins (Chair of VMFA Board), J.M. Brown. Subject- \"Disposition of Mr. Gari Melcher's Estate Excerpted from Virginia Museum Minutes Books, No.4,5and6\" , prepared by A.W. Statnaker, Asst. Administrator 7/17/74. Resolution, re: \"Belmont As An Art Center And Museum\" and \"Opening Of The Belmont Facility To The Public\" , Executive committee Minutes. Dates- 5/74 - 11/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Melchers estate/bequest to the Museum, agenda and minutes of Gari Melchers Memorial Committee 5/56-10/56, report and proposals of that committee. Dates-5/56-10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- appointments to committee, general operation of Estate, suggested budget, list of Melcher paintings owned by VMFA, loans of art works, drawings/blueprints: G. Melchers Studio air conditioning system and proposed plaque for ashes of Mr. and Mrs. Melcher. \"Belmont Agency Agreement\", Bill to transfer Melchers Memorial from VMFA to Mary Washington college. Dates- 4/56 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- First Chairman of Fellows: 1st Annual Meeting and statement of purpose. Exhibitions: English Painting, French Portraits, Sport and Horse, Artmobile. Old Dominion Foundation and his membership on the Executive Committee, gifts, donations and contributions. Dates- 2/38 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His membership on the Board of Trustees, Fellows, Collectors Circle. Biographical info, loans of art works from his personal collection, donations and gifts to VMFA and the National Gallery, Artmobile, as a recipient of the Benjamin Franklin Award: statement of purpose, nomination form, list of contributions, newspaper clippings, photocopies of magazine articles, invitations , etc. Dates- 1965 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Robertson. Subject- Collectors Circle, Fellows, term as VMFA Vice President. Press releases, newspaper clippings, contributions and gifts. Dates- 4/60 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Members lecture series. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Higgins, Jr. (Pres.) and C. Humelsine (Pres.) Subject- Draft of letter to membership regarding schedule of events etc. Dates- 9/71 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program where paintings from contemporary Virginia artists would be loaned (rented) to members to have in their homes. Members could also purchase the paintings. \"Designed to bring the work of Virginia artists into the homes of Virginia citizens.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Wm. Higgins. Subject- Monthly membership report summary, Chapters/Affiliates reciprocal membership program, letters of general correspondence to the membership. Dates- 4/70 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of the Membership Committee 1/48, 2/49 and a letter supporting the proposed theatre wing from Mrs. Wm. Trigg, Jr.(Civic Theatre Committee, Div. of Recreation, City of Richmond). Dates- 9/47-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Membership report, promotion, agenda, roster of committee members, minutes of committee meeting. Dates-8/72 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes of membership committee, elements of campaign to attract new members and move members to higher categories. Dates- 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Guided tours for prospective members, agendas, schedules, newspaper clippings, excerpt from Minutes of Executive Committee 12/14/72. Dates- 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Webster Rhoads (Pres. of Museum Board) and R.A.Velz (Administrator). Subject- list of new museum members, request form for membership, Membership Reports 1954-5 and 1955-6, list of membership privileges, etc. Dates- 11/55-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. W.A. Nones (Chair, Trustees), J.M. Brown and C. Humelsine. Subject- General membership information, schedule of events, calendar, pamphlets, etc. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership rosters of local organizations, copies of a cover letter soliciting members, etc. Dates- 1/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey results, years of membership, exhibit preference, age, attendance, annual contribution. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- planning stages for corporate memberships, proposed fees, privileges, etc., counsel from other US art museums, list of corporations to be approached about the idea, etc. Dates- 1946- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Corporate membership drives, presentation to J.C.'s, excerpt from Newsweek. Dates- 6/60 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Members art studio classes and lecture series. Dates- 6/54 - 9/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 6/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 9/54-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Velz. Subject- memos regarding segregation and other policies at the Museum. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek and R. Velz. Subject- Miscellaneous information concerning collections in general: treatment/condition reports, insurance, loans, installations, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Miscellaneous museum operation: Artmobile, Art Lending Service, Virginia Artists, lists of objects on loan, exhibitions, damage reports of objects and gallery inspections, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- inter-office memorandums on various subjects. Dates- 12/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek and H. Glasser. Subject- Exhibitions, Pratt Collection, gallery inspections and all manner of museum operations and programs. List of lost objects on loan to the Bon Air School for Girls. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Inter-office memos concerning insurance valuations, loans, lectures, library, exhibitions and policy on filing acquisitions data and damage reports. Date- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets published by the state Department of Mental Hygiene and Hospitals and the Mental Hygiene Society of Virginia. Dates- 1951-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and various staff at the Metropolitan Museum. Subject- museum practices, long-term loans of Egyptian art and artifacts, securing speakers, etc. Dates- 1/55-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J. Rorimer (Dir., MET) and A. Priest (Curator, MET). Subject- Damage to MET's \"Bacchus\", objects to purchase, loan requests. Acquistions and gifts: Tibetan Scroll; Coat of Japanese Mail. Dates- 11/69 - and/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Michael Jacobs Gallery. Subject- loan of painting (George Washington by Gilbert Stuart) for inaugural exhibition. Dates- 6/35-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Midwestern book competition for which Cheek served as a juror, competition judged in Richmond, lists of criteria and books, printed material for the competition, etc. Dates- 4/56-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Jo Mielziner. Subject- friendly letters, mention of possible Mielziner exhibition, etc. Dates- 12/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, list of stage designs available for purchase, his lecture to VMFA, schedules and agenda's, etc. Dates- 10/54 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Miller and Rhoads department store staff. Subject- showing VA artist work in store windows, borrowing supplies from the display department for the Museum (folding chairs, textiles), etc. Dates- 2/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W.S. Rhoads. Subject- Nomination of Miller and Rhoads, Inc. for Esquire magazines 1st annual \"Business in the Arts\" award. Support of Artmobile II. Exhibition: \"Masterpieces in Millinery\", spring 1958. Preliminary outline of fashion costume requirements for VMT \"Lady In The Dark\". Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Speaker: Philip Adams. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. John M. Miller, Jr. Subject- Trustee/Museum business, Miller served as a member of the Membership Committee, etc. Dates- 6/35-7/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mr. J.G. Pollard, Jr. Subject- asking Mr. Milliken (Director of The Cleveland Museum of Art) for counseling on acquisitions, draft of an agreement where Milliken counsels the Museum staff about proposed acquisitions, etc. Dates- 3/58-3/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from B. Mills in his role as Asst. Administrator of Personnel. Subject- Records, applications, payroll, medical insurance, announcements of new employees and terminations. Dates- 9/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and L. Cheek, Jr. and The Mint Museum staff. Subject- museum practices, loans, etc. Dates- 8/46-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- obtaining the motion picture for which the drawings in the exhibition \"Gil Wilson 'Moby Dick'\" were made. Dates- 12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- printed material for exhibition \"Modern German Art\", invitation to Mr.and Mrs. Alfred P. Jenkins for dinner and exhibition preview, (Mr.and Mrs. Jenkins owned the modern German art collection shown). Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Creation of James Monroe Bicentennial Commission. Dates- 8/57 - 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown between MAC. subject- Section 21-2 of the Richmond City Code: designation of Monument Avenue as an Historic District.  Minutes of meeting of MAC, 4/24/71 and 5/19/71.  Program Planning Task Force, editorial broadcast, roster of members, Articles of Incorporation, By-Laws, agendas, proposals and pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and Mr. Charles Moore. Subject- Moore's application for the Director/Producer position in the Virginia Museum Theatre. Dates- 12/56-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data and his lecture tour to the VMFA. Dates- 4/53 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Georgia Watson Morgan. Dates- 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Search for candidates for public information supervisor, job requirements, resume, publicity agendas, public information schedules, Bulletin vol.20, no.3. Dates- 6/59 - 7/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Mulholland (magician), biographical data/pamphlet, his magic presentation to the Fellows and VMT. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, his address to VMFA membership concerning architectural history. Dates- 10/55 - 8/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Munn Last Will and Testament with list of objects bequeathed to VMFA. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and T. Colt. Subject- Mural competition for Virginia State Library entrance hall: selection process, general assembly commission of monument to Stonewall Jackson. Dates- 4/46 - 6/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Envelopes of photos and negatives of Pre-Columbian art objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Gallery attendance and educational groups. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Oct. Bulletin 1954, copies of the following Members' Bulletins-vol.15, no.2 (10/54) and vol.13, no.3 (11/52). Dates-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison. Subject- working papers for Members' Bulletin Oct. 1955, VMFA calendar 10/55, etc. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Oct. Bulletin 1955. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Design of annual Christmas cards by Virginia Artists: John Ballator, Charles Smith, John Canaday, Allan Jones, Ross Abrams, Julien Binford and Prentiss Taylor. Dates- 11/48 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns transportation for the Museum lecturers and guests 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Christison and Mrs. Pollard. Subject- Inquiries from other institutions regarding museum operations, budget, services, corporate membership, Trustees, etc. Lists of purchases, Fellowship recipients. Dates- 1937 - 53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Arrival of Hollins and VCU students to work on specific projects for one month. Dates- 12/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Proposal and tentative plans, prospective filmmakers. Minutes of Executive Committee of Southern Educational Film Production Service. \"Motion Picture Production\": Study by H. Jeff Forbes and Associates regarding promotion of VMFA. Dates- 11/46 - 2/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memos about various museum topics. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, V. D'Amico (Dir. MOMA), M. d' Haroncourt. Subject- Art education standards, exhibitions, loans, lectures, museum policy, juror search and Jamestown Commission. Dates- 11/55 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Head of Administrative Division), Mrs. J.G. Pollard and L. Cheek, Jr. Subject- suggested future organization of the institution, operating procedures throughout the building, etc. Dates-2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding the division of expenses between the theatre and the museum, 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Promotional literature on the VMFA. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Material deals with segregation policies at museum events. 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence pertaining to printing. Bulletin mock-ups and copies of the following bulletins: Vol.6, No.4,  Vol.7, No.'s 2and7. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and magazine articles. Photographs, press releases etc. 1955-57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed budget groupings for VMFA, according to departmental divisions and table of organization. Dates- 1948 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events, timetables, agendas, Robinson House, housekeeping, security, VMT. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of events, exhibitions, Robinson House. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Schedule of events, mailing schedules, spring agenda, Confederation Conference, Robinson House, VMT, gallery closings, Discovery Cruise: Land of Maya. Date- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Suggested talk by Pres. of Museum to guests at Safari Dinner in Medieval Hall. Dates- 1/22/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Travel package for travel to Asia, brochures, cultural travel tours. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Policy regarding loans of art works to other Museums, employment search, provenance of art objects, pamphlets, newspaper clippings, etc. Resolution: To order immediate safe return of German master works after Nazi occupation, signed by U.S. museum directors. Dates- 4/46 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Applicant search for various positions, invitations, announcements, exhibitions, etc. Press kit for the Milwaukee Art Center. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- General correspondence on exhibitions, loan requests, museum business, job placement, magazine and newspaper clippings. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions, loans, policy. Dates- 12/60 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of music series and members of committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- schedule of program of recorded music, announcement of 6th artist evening 1/46, Museum Bulletin Vol.5, No.2, etc. Dates- 2/46-5/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Jerome Myers. Subject- acquisition of his painting: Street Scene, N.Y., his acceptance to the National Exhibition of American Art, N.Y., etc. Dates- 4/36-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- General correspondence to Trustees and membership, letters to Robert Neutra, exhibitions: Henry Moore, Sport and Horse. Agendas, travel itinerary, events and invitations. \"Encouragement of the Nations Arts\", an appeal to congress, and \"Proposed Federal Advisory Council on the Arts\", Hon. H. Alexander Smith, U.S. Government Printing office, Washington D.C., 3/26/57. Requests for employment, postcards, pamphlets and photographs. Artists: Jean Nikolic. Accessions and Gifts: \"Disasters of War\", Goya; \"Lore Fuller\", Raoul Francois Lanke; \"Dancing Girl With Tambourine\", A. Leonard; \"La Revre Blanche\", Toulouse Lautrec; Revere and John Andrew spoons and vase possibly made by Johannes Loetz Witwe. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Namuth's exhibit of photographs at the Brussels World's Fair, as a juror VMFA. List of Seventeen painters photographed by Namuth: Wm. Baziotes, J. Boynton, L. Calgagno, N. Carone, R. Diebenkorn, J. Ernst, S. Gechtoff, G. Hartigan, E. Kelly, W. Kienbusch, G. Mueller, K. Morris, B. Perlin, C. Marca-Relli, R. Motherwell, A. Reinhardt, L. Siegriest, with original notes by Namuth. Letter from J. Ernst with signature. Date 4/61 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statement of purpose and future of NCA, Board of Directors, Members of Council, fellowships, program grant application. Essay- \"National Endowment For The Arts Before The House Appropriations Subcommittee On The Interior And Related Agencies Tuesday, March 14,1972\", statement by Nancy Hanks (Chair): \"New Dimensions For The Arts: 1971-1972\" Dates- 1970-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L Cheek. Subject- Bill: S. 2379, To provide for the establishment of National Council on the Arts and National Arts Foundation. \"Congressional Record: Proceedings and Debates of the 88th Congress\" Dates- 2/64 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Public-Law 85-874, S. 3335: charted by the 85th Congress to establish a bureau in the Smithsonian Institution devoted to the Performing Arts. \"Peaceful Use Of Creative Energy\": transcript of lecture given by Col. Corrin Strong at the Tri State Arts Conference 4/29/61; Report: \"The National Cultural Center Part Two: What Goes into the Center\" by Dr. Carelton Sprague Smith, 10/60. Minutes for the NCC Executive Board: 5/23/60 and 6/29/60 Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. cheek. Subject- VMFA Council sponsorship of a closed circuit telecast by NCC: \"An American Pageant Of The Arts\". Suggested text of publicity folder, invitations, Newsletter: \"Footlight\", vol.1 no.3.; \"For A Cultural Capital\", Eleanor Roosevelt, 1962, United Feature Syndicate, Inc. NCC, later to be named the \"Kennedy Center For Performing Arts\". Dates- 7/62 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exchange of ideas and experience with other institutions who use audiovisual tool to communicate with museum visitors. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of appeal to serve on Virginia NEFTA committee, roster of members. VMFA appointed as the state agency for the administration of Federal matching funds; to aid in expanding the cultural horizons of a states and territories. \"Guidelines\" 1/67, NEA, Washington D.C.; \"National Foundation On The Arts And The Humanities, Question and Answers\", U.S. Government, Washington D.C., 1965. Dates- 1965 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey of membership, officers of VMFA, according to race, gender, age, position and time served. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz. Subject- Grant proposals, application, letters of support, proposal for a Regional Conservation Center, Soldiers Home, American Marine Painting, NEA statement of purpose, Museums A.S.A. Study, Museum Program guidelines, Smithsonian Puppet Theatre, Young Peoples Theatre Safari, \"American Painting 1974\" and newsletter from the Arts Reporting Service. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Financial assistance to Chamber Music Societies, season brochures, project grant application form for Va. Chamber Music Society. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Grants received by Arts/Cultural organizations in Virginia: guidelines, program committee members, agendas and minutes from the program sub- committee 3/7/68. NEFTA project recommendations for a regional conservation center. Dates- 6/76 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT survey, McLean Arts Center, guidelines for program grants. Senate Joint Resolution No. 67: to create a Virginia development study commission, bill 1483: National Foundation on the Arts and Humanities Act of 1965 and a report with guidelines for VMFA as the sole administrator of NEFTA matching grants. Study for Virginia Artist and Craftsman in regard to education and support. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Grant applications from Virginia Dance Society, VMFA, Confederation of Virginia Art Organizations and Budget proposals. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- State guidelines and general information, terms and conditions, NEA matching grant to begin statewide professional operation of VMT. Addresses of applicants for state grants, roster of Virginia NEFTA committee members. Dates- 2/66 - 6/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Regarding J.M. Brown's service on committee to evaluate grant applications. Valentine Museum NEA application, pamphlets. Date- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for exhibition \"Designer-Craftsmen 1953\" presented in conjunction with the American Craftsmen's Educational Council, Inc., (ACEC), letters to jurors, etc. Dates- 9/52-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and National Gallery of Art. Subject- preview invitations, exchange publications, excerpts from Roosevelt Art Address (from dedication of National Gallery 3/41), loan request for VMFA inaugural exhibition, etc. Dates- 3/41-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets and information about \"National Park and Recreation Week\" sponsored in Richmond 5/21-5/30, 1949. Dates- 4/49-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Geographical directory, \"Historic Preservation\" journal, vol.11, no.3, 1959 and Melchers Memorial. Dates- 1959 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Organization membership information form, questionnaire. NTHP certificate of associate membership 1971-73, employment placement and service pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Travel itineraries, objects for prospective traveling exhibitions, list of slides, forgeries and thefts. Accession and acquisition proposals. Dates- 1/61 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Conservation of objects/paintings, loans. Accessions committee meeting agenda, 10/69. Report on Authenticity of \"Marble Head of a Horse\", Heermaneck Ancient Iranian Collection. Exhibitors: The child and his World. Condition reports and repair estimates for tapestries. Photographs Dates- 12/69 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Sydney Lewis and Peter Mooz. Subject- Authenticity of Cycladic Harpist and 18th century American secretary. Provenances of various objects, conservation and treatment reports. Catalog: \"Arshille Gorky\" Dates- 1/74 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Sydney and Frances Lewis and Peter Mooz. Subject- Conservation/treatment reports, Artnian Collection of self-portraits. Conservation/treatment reports, Kent Independence Portfolio. List of Art Nouveau objects, damage reports, African Collection. Report of authenticity regarding the Cycladic \"Harpist\". Letter from Arnaldo Pomodoro regarding a base for \"Rotating Sphere\". Dates- 5/75 - 8/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Hours of operation, VMFA and other museums, attendance records, VMT, security, UNESCO newsletters 4/58 - 8/59, newspapers and magazine clippings, press releases. Dates- 7/59 - 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cheek's annual N.Y. cocktail party: guest lists, arrangements, rosters of speakers to VMFA: 1951-52 and 1952-53. Dates- 1952 - 54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newsletter to Trustees concerning exhibitions and appointments to Executive Board, accessions, building, etc. Dates- 11/70 - 8/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Morrison (P.R. VMFA), F. Palmer (P.R. consultant), D. McCammond (P.R. Reynolds Metals). Subject- Public Relations of E. Newsom and Co. to conduct a study to determine the needs and potential of VMFA. Program organization, community relations, film, book press material, schedules of events, etc. Dates- 8/58 - 9/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- A survey targeting the needs, current and future of VMFA, with solutions/resolutions for every aspect of the museums' operation. Dates- 11/58 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. A. I. duPont and F. Palmer. Subject- Roster of members of Board of Trustees, letter of appeal for pledges, principal elements of Newsom Program. Dates- 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. A.I. duPont (chair, Ann. fund). Subject- Strategy to raise funds through the Trustees to finance the Newsom Public Relation Firm program for VMFA. Drafts of letters to Trustees, progress report, minutes of 25th Anniversary Committee, 9/8/59. Dates- 12/58 - 7/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- all manner of museum operation: security, policy and procedure, personnel policy. operating budget and VMT. Diagrams of electronic console panel. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Museum business, construction and installation project schedules, budget, Equal Opportunity regulations, design contract for the Council shop, salary scales. Dates- 10/73 - 1/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum business, Conservation Lab, Fine Arts insurance coverage, budgets, Cabell Foundation gift. \"Report on the Freedom of Information Act\". Depreciation of \"Death of Regulus\", Salvatore Rosa. Dates- 12/74 - 7/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum business and operations, budget, contractual agreement between VMFA and Harwicke Associates, Inc. for North Wing project. \"Organization of the Virginia State Government\". Dates- 10/75 - 11/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- UVA architect and his membership in the Collectors Circle. Dates- 1/63 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General assistant to VMT, employment recommendation. Dates- 6/55 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Possible acquisitions from his gallery. Dates- 10/62 - 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L Cheek and J.M. Brown. Subject- Loans, exhibitions, VMT, Rotunda Club, Fellows. Accessions and gifts: \"Metamorphosis\", Grillo. Dates- 4/57 - 6/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- correspondence with individuals, institutions and companies beginning with the letter \"O\". Dates- 4/43-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, photo and job description/responsibilities as program director for \"Art Column\". Dates- 3/61 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- As a scenic design consultant, his lecture to VMT in connection with the Exhibition: \"Design For The Theatre\". College Drama Festival, biographical data. Dates- 1/60 - 2/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Mellon, E. Brooks Jr., and M. Bush. Subject- Financial support: Artmobile II, building grant and museum survey to expand visitors use to VMFA. Photographs, newspaper clippings. \"A Study in Modern Giving: The Old Dominion Foundation\", reprinted from articles in Richmond News Leader. \"Bollenger Series\", catalogue of special edition books. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Bush (Asst. to Pres. of ODF) and P. Mellon (Pres. of ODF). Subject- Financial assistance to VMFA, Artmobile II, collectors circle, and Old Dominion Foundation statement of purpose. Dates- 9/58 11/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Dan Olney. Subject- receiving a Senior Fellowship 1941/2, outline for a lecture, etc. Dates- 10/40-6/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Governor Thomas B. Stanley. Subject- opening of the new wing. Dates- 8/54-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- opening and reception for Governor Stanley. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitations and replies to the opening of the Members' Suite, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opera Society's first season. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- miscellaneous printed materials for the Museum, etc. Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- tickets to the Museum for State Lions' Club convention, etc. Dates- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- ideas/proposals for \"Members' Room\", suggested operating procedures, menus, pricing, etc., cost estimates, \"Refreshment Room Statement\" 1955, etc. Dates- 1/55-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre operations proposals, list of staff, their duties and salaries, etc. Dates- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- lists of statewide business, civic, commercial and other organizations, invitation list for General Assembly/Governor's reception, etc. Dates- 1953-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Orloff's (Chief-interpreter of U.N.) lecture to VMFA concerning the Faberge Collection, Biographical data. Dates- 11/49 - 4/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of inquiry to firms specializing in plaster and wood ornament, catalogs. Dates- 5/54 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- museum practices especially concerning finances of other US art museums, etc. Dates- 4/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Near and J.M. Brown. Subject- Artmobile, VMT, Collector's Circle, Fellows, Chapters/Affiliates, biographical data, campaign to restore the Jefferson Hotel, list of exhibitions from 1942 - 45.  International Exhibition Foundation, the appointment of John A. Pope (Director of Freer Gallery) as advisor/consultant to VMFA for expansion of Far Eastern Collections.  Acquisitions and gifts. Artists: Nell Blaine, Howard Kanovitz, Otto Piene. Gifts: Masson lithograph, Irving Penn photo and 15 Russian 19th century paintings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Painter's lecture on \"Armor and Medieval Man\" to compliment the \"Arms and Armor\" exhibition, biographical data. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Nelson Parker. Subject- announcement of Board meetings, etc., Date- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Appeal to Virginia Senate and legislature regarding sufficient museum parking utilizing land belonging to the UDC (United Daughters of the Confederacy). Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gift of Egyptian Gallery and English Decorative Arts Gallery. VMT, and her membership as a Fellow and in collector's circle. Dates- 4/61 - 10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. J.G. Pollard and Executive Committee of the Board. Subject- proposal and planning stages of conferring an honorary degree of \"Patron of the Arts\". Dates- 6/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject-housing J.B. Payne books in library of the College of William and Mary in exchange for paintings from their collection of art for display at the Museum. Dates- 1/50-4/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek's service on the Board of Trustees and on the Advisory Board of the School of the Arts. Minutes of U. of P. Executive Board, 4/8/60, 4/29/63, 4/26/65 and Annual Report of Graduate School of Fine Arts, 3/64, 5/65. Dates- 10/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek as chair of Fine Arts Committee. Subject- Letter to P. Coombs on his appointment as Assistant Secretary of State for Educational and Cultural affairs, UNESCO newsletter, Nubian archeological sites. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and A. Frankfurter (editor, Art News). Subject- VMFA general collection, list of gifts and purchases, 1955-67, scope of exhibitions, dates, publications, colorplates. List of VMFA Board of Trustees, 1962, Gobelin Tapestries. Dates- 1953 -64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Articles based on exhibitions and general collection of VMFA, VMT, invoices, newspaper clippings, pamphlets, reviews, newsletters. NEA museum programs, research education grants. Dates- 1967 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Articles of VMFA: \"A Spring View of Virginia Museum\", 10/56, Wm. Lacey, Editor; \"Art isn't Caviar at this Museum\", Sidney Shalett, 7/57, The Diplomat. Dates- 10/56 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Articles and editorials pertaining to VMFA: Newsweek, Time, Art Gallery, Antiques, Museum News , etc. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Harper's Bazaar, New York Magazine, Apollo, reviews. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Editors V. Dabney (RTD) and J. Kilpatrik (RNL). Subject- Artmobile, reviews of VMT and media coverage by print journalists, newspaper clippings. Essay- \"The Arts In The Sixties\", by L. Cheek. Dates- 11/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and F. Stewart and C. Jones. Subject- Exhibitions: \"Form Givers\", Sport and Horse\" and Mellon Collection. Dates- 2/60 - 12/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information on candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Job descriptions. Dates- 1953 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, P. Near and L. Cheek. Subject- Fellowships: list of recipients from 1940 - 1955. Prospective employees and VMT. Dates- 12/54 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- personnel rules and procedures of VMFA and the Commonwealth of VA, mandates from the Governor's office, additional personnel and pay increase requests, Roster Cards (listings of all employees and pay rates), etc. Dates- 8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., and R.A.Velz (Administrator). Subject- listing of division duties, proposed salary ranges, information about hiring an artmobile driver-curator, etc. Dates- 2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of L. Cheek, Mrs. J.G. Pollard, theatre staff, Ariel Ballif, Vincent Bowditch, Arthur Ballet, R. Velz and P. Near. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Personnel matters. Dates- 4/66 - 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains general information about the system and ratings for museum employees. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about the candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about various candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Governor's personnel survey staff. Subject- employment questionnaire, job descriptions (buildings and grounds staff, watchman, registrar, secretary, etc.), etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Governor's personnel survey staff. Subject- employment questionnaire, VMFA tentative classification of positions (3/37). Dates- 10/36-4/37.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Fiske Kimball (Director of Penn. Museum of Art). Subject- loans for VMFA inaugural exhibition, exchange publications, counsel on museum practices, etc. Dates- 5/35-5/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R.L. Dickinson (Hanover Bank). Subject- The Library of Philanthropic Information at the Hanover Bank, New York City. Dates- 11/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- E. Turpin Phillips, a Virginia citizen and his request to see proposal plans for expanded museum parking onto UDC property. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Consultant for VMFA acquisitions. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Duncan Phillips (Director, Phillips Memorial Gallery). Subject- request for loans to VMFA inaugural exhibition, etc. Dates- 9/35-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Installation of VMFA photography department, list of equipment and supplies, employment of staff photographer: Gordon Burns. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of entries to the \"19th Photographic Salon\" exhibition, schedule for jurors, etc. Dates- 3/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) and L. Cheek, Jr. Subject- purchase requests for photographs. Dates- 10/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Ivan Dimitri as Director of Photography in the Fine Arts at the Brussels World's Fair, his service on the advisory committee, list of photographs given to VMFA from the PFA exhibition. Directors of America's Finest Museums: portraits, credo of on art and their personal selection of photographs from the PFA archives was the subject of the World's Fair exhibition. Etching by Levon West (Ivan Dimitri). Dates- 12/59 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Atillio Piccirilli. Subject- biographical information, loans of work to the Museum, etc. Dates- 7/35-1/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- viewing the feature film 'Pictura \"An Adventure in Art\"', invitations, contributions, listing of attendance, etc. Dates- 2/52-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Herman Starr (Pres. Pictura Corp). Subject- A group of films devoted to the fine arts. Presentation of \"Leonardo da Vinci\" at Richmond's Lee Art Theatre and film on Goya to accompany exhibition. Dates- 1/51 - 3/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Gallery dinner, menu, agenda, program for event. Dates- 8/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- policies on use of meeting rooms and studios, special food service, interpretative services, scheduling programs, etc. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence to and from him when he was President of the Board of Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- the VMFA inaugural exhibition, Museum events, finances, Museum Board business and bequests/gifts to the Museum, etc. Dates- 1/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- Museum operations, investments, finances and gifts to the Museum, etc. Dates- 1/37-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as President, Trustee and membership in the Collector's Circle. Biographical data, museum business: operating fund, Artmobile, Newsom Report, 25th Anniversary fund, Melchers Estate transfer, gifts, contributions, Fellowship Fund. Exhibitions: Sport and Horse. Dates- 9/53 - 2/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as a Trustee, VMFA Resident Craftsman Program. Dates- 2/64 - 2/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Design of members Bulletin, records retirement, museum business. Dates- 1949, 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum business, Pratt installation, museum courses and equipment. Dates- 9/54 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Gift of \"Rotating Sphere\" from Lloyd Noland. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- As founder and director of the Barter Theatre, proposed plans for Theatre Virginia and NEA funding. Dates- 4/67 - 5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and Mr. David Payne. Subject- correspondence with Payne about arranging the exhibition \"Portraits by David Payne\", biographical information, letter from Phillip Johnson, etc. Dates- 5/51-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, L. Cheek, Priscilla Crum (Curator, Asst. in Education). Subject- Gallery representing portrait artists, biographical data on various artists and portrait of Senator Byrd. Photographs. Dates- 6/45 - 11/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statewide tribute to John Powell (a native of Virginia) and the presentation of his \"Symphony in A\". Date- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Correspondence with Pratt as a trustee. Discuss first Easter egg exhibition in 1949 and Hammer visit. Letter from Schaffer (A La Vieille Russie) in 1949 about lending some pieces for an exhibition. Includes a few letters from Mrs. Pratt before she died, about a Faberge table donation in 1942 and donating \"Twice Seven\" to the Library. Establishment of the Fellowship fund, including letter from Twombly as early recipient. Pratt Collection: insurance estimates and installation. Gift of funds to purchase the first Artmobile from Pratt and Miller and Rhoads. Dates- 7/40 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, Fellowship committee, underwriting of Faberge booklet, terra-cotta statue of \"Diana\" from the Pratt Estate given to VMFA, newspaper clippings. \"A Plan For Fellowships For Virginia Artists\" as suggested by Mr. John Lee Pratt. Minutes from Fellowship Committee meeting, 6/12/42. Dates- 12/49 - 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. John Lee Pratt. Subject- Trustee/Museum business, VMFA fellowship updates, etc. Dates- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown. Subject- Biographical data, fellowship recipients: Cynthia Morehead Smith, Paul Steuke, June Chapman, Fred Bonds, Richard Kevorkian and Reginia Perry. Pratt Collection: catalogue, except from forward by L. Cheek, questionnaire regarding Mrs. Pratt's initial contact/purchase sources for Russian Jewels, list of objects bequeathed by Pratt Estate. Dates- 1/57 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposals and cost estimates for Healy's Sitters exhibition and Pratt collection catalogues. Dates- 4/50-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek, Armand Hammer (Hammer Gallery) and Alexander Schaffer (La Vielle Russie Gallery). Subject- Legal claim against the Romanoff Family assets via the Pratt Collection of Russian Jewels. Possible lawsuit by A.G. Sharkey, President and Trustee of Marine Transport Service Corporation in NY who had judgment against Czar Nicholas Romanoff since 1918. Hammer and Schaffer dismissed it. Details of Pratt bequest, provenance of objects, announcement of bequest with sample of text to be used in pamphlet. Excerpt from \"Twice Seven\", by H. C. Bainbridge, E. P. Dutton and Co. Inc., 1934 (reference to Faberge Jewels owned by Armand Hammer). Dates- 8/47 - 10/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. J. G. Pollard. Subject- Installation, list of items on exhibition, security and transportation. List of objects in the collection of Mrs. Joseph E. Davies and pamphlets. Correspondence regarding various showings around the state - Roanoke in 1950 and Norfolk in 1951. Dates- 1/49 - 4/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from C. Humelsine. Subject- General correspondence to the VMFA membership, calendar of events, museum news. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to the media from the Museum. Subject- news releases about Museum events. Dates- 10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News releases about Museum events. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- positions and duties for volunteers and guards during an undisclosed preview. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Gov. Price. Subject-proposed salary increases, Board meeting announcements, nomination of Colt to select work to go to the Annual Exhibition of American Art 1938. Dates- 1/38-11/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- On the occasion of his being collector of the Year 1964, his cookbook including photographs of VMFA and the menu from the Collectors Gala, newspaper clippings. Gifts: Lachaise drawing. Dates- 6/63 - 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Grigaut and P. Near. Subject- A. Priest as Metropolitan Curator of Far Eastern Art, his service as a consultant to VMFA (1963-69) in the formation of the Asian collections. Correspondence on examination and provenance of works in the VMFA. Minutes of Executive Committee, 9/9/63, 12/8/64, minutes of Accessions Committee Meeting, 9/9/63. \"A Buddhist Paradise\", A. Priest, AIV, 1963. Newspaper clippings, postcards, etc. Dates- 1963 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) and Mrs. J.G. Pollard. Subject- printing schedules for 1956, miscellaneous print job specs, etc. Dates- 11/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- asking local corporations to fund the printing of school guide sheets for the Museum. Dates- 8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence pertaining to bulletin layouts, copies of Members Bulletin Vol.9, No.'s 1and7 and copies of Christmas cards 1948-9, etc.. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum publications: Contemporary Paintings 1946, Program Season of 1947-8, The VMFA Annual Report 1947-8, Virginia Art 1947 and Museum Bulletins: Vol.3 No.'s 1,2,4,6and9,  Vol.4, No.'s 4and5,  Vol.7, No.'s1,2,3,4,5,6,7,8and9,  Vol.1, No.8,  Vol.8, No.'s 2,3,4,5,6,7,8and9,  Vol.9, No.'s 1,4,5,6and8. Dates-9/42-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- securing a speaker (Robert T. Paine) for the exhibition \"Prints by Hiroshige\", thank you note to Mr. Paine, etc. Dates- 11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed programming for the Museum. Dates- 2/49-9/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and lecturers. Subject- proposed program/events and exhibition schedule, biographical information on lecturers, etc. Dates- 10/50-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- Artmobile schedules, Three-Days-In-March, members travel, grants, pamphlets. \"Proposal For The Development Of American Writers And Resources With Special Emphasis On The Production Of New Forms Of Drama Created Especially For Television\"; The Mark Report\": A survey and evaluation of VMFA statewide programs. Dates- 1974 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safaris, Artist-in-Residence, lectures. Film series: \"The Romantic Rebellion\", exhibitions, COVA events, agendas, Professional Workshop. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Nancy Durett. Subject- violin recital 4/47. Dates- 4/46-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- memos to determine dates for the Trust Fund Orchestra to perform at the Museum. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- VMFA educational services, VMT and all manner of print and broadcast media promotion. Exhibitions, publicity schedules, press releases and newspaper clippings. Dates- 9/50 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General invitation to groups to participate in VMT. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Prospective givers: foundations and individuals. Date- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newsom Report: \"A Report To The Virginia Museum Of Fine Arts\", 11/19/58, Earl Newsom and Company, a study of VMFA public relations, information and communications responsibilities. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Various outside publications mentioning VMFA, 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Design and production of AIV: promotion, organization, printing schedules, contributors , etc. Catalogue \"Architectural Drawings in Virginia\" and \"\"Confessions of an Ex- Elitist\", M.W. Fishwick, Popular Culture Association, American Studies Institute, Lincoln University. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photo of the Museum and of the \"Brussels Tapestry Exhibition\" 1949, Museum publications: VMFA Catalog of Paintings 1938, The Collection of Catesby T. Jones, 1948, and the following VMFA Members' Bulletins: vol.10, no.'s 1-5, etc. Dates- 1938-1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- copies of the following publications: The VMFA Annual Report 1947-8, The T. Catesby Jones Collection, Contemporary American Paintings 1948, William James Hubbard, Three Virginians Behl, Hunter, Blaine, Portrait Panorama, Program Season of 1947-8 and Member's Bulletins: Vol.1, No.8, Vol.8, No.'s 2,3,4,5,6,7,8and9. Dates- 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release, jurors. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the Parsons gift of the Egyptian Gallery and 25th Anniversary Fund Committee. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations to the VMFA's 25th birthday celebration for the affiliates, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release announcing loan of Chinese wine vessel. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 25th Anniversary projects, press release: message from the President (Robertson). Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Appeal to Trustees for contributions to the Drama Festival.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: 28th Virginia Artists Rotating Exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing a network of local art centers and museums affiliated with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VMFA as regional jury center for the national exhibition \"Designer-Craftsmen-U.S.A.\", news releases, information on obtaining a jury and a speaker, etc. Dates-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Va. Architects, Photographers and Designers, seminar for Historical Administrators, VMT and Virginia Composers Concert. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release and photo for first issue of AIV. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release on Arts in Virginia. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains a cover letter for a mailing, no date. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing 25th anniversary events, exhibitions, VMT, etc. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing conclusion of 25th anniversary celebration with the presentation of awards to Colonial Williamsburg, The Old Dominion Foundation, sculptor: Carl Milles, architect: Eero Saarinen, collector\" Robert Lehman and Naval designer: William F. Gibbs for their outstanding contributions to the Arts in Virginia. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- obtaining the exhibition \"Built in the U.S.A.\", presenting programs related to the exhibition, biographical information on Phillip Johnson, etc. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photo of \"Little Triton\" fountain for the Bulletin, copy of Members' Bulletin vol.15, no.1(9/54), etc. Dates- 9/53-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Members' Bulletin. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Members' Bulletin, calendar of Museum events. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vol. 13 no.'s 1-9, 1952-5/53; vol. 17 no. 8, 2/57; vol. f19 no.'s 7 and 8, 3/59 - 4/59. Biographical data on Iren Marik, pianist, and reviews. Dates-1952 -53, 1957, 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vol. 20 no.'s 4-6, 12/59-2/60 Dates- 12/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases: Tours organized through Virginia Federation of Women's Clubs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases: season opening production and call for volunteers. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Extended performances of VMT's \"Carousel\". Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Bus trips to VMT. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of certificate winners and a gallery guide from the \"Virginia Artists\" exhibition 1955. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Portions of VMT concert to be broadcast with commentary and explanations of technique. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Programs and photographs. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Information regarding the Museum's chapters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photographs [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing festival with guest artists: Helen Tamris and Daniel Nagrin. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Critic, Stella Adler, Speaker: Alfred de Liagre. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- TV news film of highlights of the College Drama Festival, script, telegrams and surveys to Virginia TV stations concerning air time and usage. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Announcement of individual participants announcing their attendance in the festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loan of Cone collection from the Baltimore Museum of Art to VMFA for an exhibition, a catalogue of the Cone collection, news release about the  bequest of the collection to the Baltimore Museum of Art, etc. Dates- 10/49-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Public information schedule for exhibition: \"The Architecture of Skidmore, Owings and Merrill\", \"The Little International\". Artmobile public and information schedule and Bulletin, vol. 19, no.2 10/58. Essay- The Little International Exhibition\", Fred Olsen, 4/57. Dates- 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills, reviews and biographical data.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- list of designers proposed for inclusion in the exhibition \"Design for Theatre\", tentative list, etc. Dates- 8/52-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing loan of painting by Winslow Homer. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Evaluation of the Discovery Television Series sponsored by the San Francisco Museum of Art. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Statewide Press Release announcing fellowships 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press Releases regarding fellowships 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills and posters. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Buckminister Fuller. Subject- Exhibition of the work of 13 leading architects, opening lecture given by Buckminister Fuller, list of catalog content, gallery talk, press release, invitations and biographical data. Photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing formation of a fundraising committee for the 25th anniversary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions: \"Drawings From Five Centuries From The Cooper Union Museum\", \"Hans Moller\", \"Is Photography An Art\", \"Sport and the Horse\", \"25th Anniversary\". Parsons gift of the Egyptian Gallery, Chamber Music Society, Virginia Artists, evening hours, speakers/lecturers, Virginia Art Alliance, state services, Fellowships, Search for a female collector with a collection of Imperial robes. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases announcing exhibition of contemporary glass. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions: Skidmore, Owings and Merrill (AIA for Reynolds Building), publicity, progress report on exhibition arrangements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Ivan Dmitri. Subject- Symposium on photography conducted by Dmitri with a panel composed of: A. Hyatt Mayor (MET) and Hilton Kramer (Arts Magazine). List of paintings and photograph comparisons and press releases. Photographs. Dates- 10/59 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Status report of the Broadway production. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about the loan exhibition. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Speaker 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: History of Lynchburg Center published in the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Brief film on masterpieces of American silver, script and outline for the 25th anniversary program. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains press releases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains layout and planning for the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of the moving of art objects, installations, physical plant and behind-the-scene workshops and people.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Editorial Writers, agenda, and guest speakers, exhibitions, events, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Ms. Nemone Balfour. Subject- a ballad concert given by Balfour sponsored by the Museum, new release, printed material, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: R. Neutra lecture in coordinate with his VMFA exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitations to grand opening of the 10/54 VMFA addition. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the Norfolk Museum affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Bus tour and photograph. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of galleries. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing gift of marble statue \"Dawn of Young Womanhood\", Oronzio Maldrelli from Miller and Rhoads Department Store. Press releases from: Mariners Museum, National Gallery, Henry Ford Museum, Walker Art Center and the MOMA. Dates- 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: purchase of Patronship by Richmond businesses for season tickets to VMT.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- radio transcripts and publicity releases. Dates- 1948-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases, publicity schedule 6/26- 7/22. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 5/56-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 4/51-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 1952- 5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases for various museum events: theatre, exhibitions, films, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Affiliation announcement of the Roanoke Fine Arts Center 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the loan of \"The Ecstasy of St. Francis\" by Carravaggio. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release announcing the acquisition of a rare funeral monument from 2nd century B.C. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Advertising copy and selection of artist to draw a cartoon. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release for VMT promotion. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing special schedule to accommodate bus trip from out of town. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity schedule and advertising copy. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- scheduling a speaker (Bernard V. Bothmer) to coincide with the exhibition \"Smith's Egypt\", photo and biographical information about Bothmer, etc. Dates- 6/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition and Publication information regarding \"Sport and the Horse.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- News Releases regarding newspaper column 1960. The column was carried in 50 Virginia newspapers as 42 weekly articles by Cheek. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Syndicated column written by Cheek as part of a promotion for the Museum's 25th anniversary. Contains a mailing schedule for the column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Return forms from newspaper publishers regarding column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Promotional letter for newspaper column. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast script for performance promotion. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from G. Friddell (Public Information Director). Subject- controversial nature of the \"American Painting 1950\" exhibition, James Johnson Sweeney was the juror for this exhibition, Sweeney biographical information, News Releases, exchange/gift publications of the catalogue to this exhibition, etc. Dates- 1/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast script promoting 25th anniversary year. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 25th Anniversary, broadcast scripts, VMT and list of Virginia and Washington TV stations. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast promotion script. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release with performance information  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release for VMT promotion. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release concerning a 25th birthday year magazine, the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Tours arranged by Virginia Federation of Women's Club in 6 Virginia towns to see VMT production of \"Carousel\" Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews of show. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Introductory speeches. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"The Tempest\", \"The Mad Woman of Challiot\", \"Berkeley Square\", \"I Remember Moma\", \"Noah\", \"Blind Alley\", \"The Devils Disciple\", \"High Tor\", \"Oh Wilderness\", \"Private Lives\", \"The Petrified Forest\" and \"Victoria Regina\". Dates- 1955 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Assigned design projects and newspaper clippings. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- National broadcasts focusing on topics of national interest, VMFA requests for financial assistance to host a \"Meeting\", pamphlets and photograph. Dates- 1953 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Aubrey Bodine and Gordon Bunshaft, biographical data, Competition promotion, preliminary text for official entry forms, press release. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- list of pieces included in the \"Virginia Artists 1953\" exhibition, list of purchases made from the exhibition, information on the jury and on purchase prizes, letter from Jacques Lipchitz, etc. Dates- 12/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about the exhibitions and photographs of the artists and their works. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Jurors: Richard Lippold, Isabel Bishop and Perry Rathbone. Press release announcing event.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Eighteenth annual exhibition held at the Museum and sponsored by the Camera Club of Richmond. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- fountains that flank the Museum's front entrance. Dates- 9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photo of conservation lab, gift and exhibition of the Williams collection of art at VMFA, announcements to and articles in major art publications about the gift of the Williams collection. Dates- 3/52-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition \"The American Cartoon\", original American cartoons from the collection of Mr. Art Wood, invitations and R.S.V.P.'s to exhibition preview, photos of some of the pieces of cartoon art, etc. Dates- 5/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Wm. Quillan Jr. (President of Randolph Macon Women's College). Subject- Loan of Randolph-Macon's collection of paintings. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Isobel C. Lee (Steuben Glass). Subject- Loan from Queen Elizabeth, installation, lighting and press-release. Dates- 7/10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, AAM, Jamestown Foundation, loans, Accession, gifts, biographical data and resumes. Exhibition: Randolph Macon Collection. Letter from Richard Rogers to lecture to VMT, Reston Foundation: Minutes of the Executive Meeting, 9/12/60. Dates- 9/60, 5/62 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Loans, contributions, acquisitions, exhibitions and Africa Gallery. Dates- 1/68 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to W. C. Cottrell (Elec. Corp.). Subject- Proposal and technical information for Audio-Guide radio-lecture, pamphlets, blueprints/plans of galleries. Dates- 5/72 - 8/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Priscilla Crum and M. Christison. Subject- Broadcast of Biennial Jury, notes from WMBG broadcast, 12/6/46, \"What Is Your Art Museum\", participants: Priscilla Crum (Curator of Education), Edward Davis III (Curator of Decorative Arts) Mrs. J.G. Pollard and T. Colt. Notes from WLEE broadcast, \"Know Your Museum\": a weekly series with guests from the local arts community and \"For Parents Only\": a children's radio program. Dates- 2/46 - 11/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- radio talk shows and transcripts. Dates- 12/37-9/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr.and Mrs. Robert C. Randolph. Subject- the loan of a portrait of Wm. Henry Harrison by Rembrandt Peale to the Museum for the inaugural exhibition and an additional later loan. Dates- 9/35-11/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek and Mary F. Williams. Subject- The service of Beatrice Von Keller as VMFA Acting Director during Colt's military duty. Biographical data, Randolph-Macon Collection including the acquisition of the Bliss Collection. Dates- 7/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Hours of operation, policy, menu. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Frank Rehn Gallery. Subject- loan of paintings to inaugural exhibition of VMFA and later proposed acquisitions from the Frank Rehn Gallery, etc. Dates- 9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Artist from West Virginia: application and recommendation for a Rosenwald Fellowship by T. Colt. Dates- 6/49 - 10/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rennolds' service as a Trustee and entertainment committee. List of objects in the home of her mother, Mrs. John Kerr Branch, that may be of use to the VMFA. Dates- 1/53 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Policy and requests for rental of museum meeting rooms. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for state/federal funding for the creation of the \"Latrobe Theatre\" (never built), a professional theatre organization. The design of the Theatre was based on plans by the 19th century architect Latrobe. \"The Virginia Museum Theatre\", statement of facts in relation to charges appearing in the Richmond Times - Dispatch, 10/13/66. Subject- 8/65 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of requests and general correspondence. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, Edward Kallop and L. Cheek. Subject- Inquiries concerning specific artists, objects, valuations, conservation/restoration, etc. Dates- 6/56 - 6/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek served on the Board of the Reston Foundation Community Program, includes roster of board members. Dates- 11/10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to the Executive Director of the Reston Fund. Subject- L. Cheek's membership on the Board, and proposals for development of the Reston Community, low-cost housing, maps, agendas, Reston architects, Minutes of Annual Meeting- Reston Community Foundation,12/15/64, 4/25/65, 11/12/67, 4/8/68. Dates- 6/65 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMFA membership and letter of condolences to the Reynolds family. Dates-10/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. cheek. Subject- R. J. Reynolds service as Chair of VMFA promotion and development committee. suggested organization agenda for the meeting of the Public Relations Development Committee, to further the advancement of VMFA. Contributions, invitations and photographs. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"R.S. Reynolds Memorial Award\", awarded annually to the architect or group of architects who make the most significant contribution to the use of aluminum, aesthetically or structurally, in the building field. Theodore Rozak chosen to commission the first sculpture. Dates- 5/58 - 11/6 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Miss Katherine Rhoads. Subject- a bequest to the Museum. Dates- 5/35-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from G. Martin (Secretary of VMFA). Subject- Rhoads Medal awarded to persons who have made a notable contribution to Art in Virginia; list of recipient, excerpts from the Minutes of the Executive Board, 5/25/69/. Biographical data on Concetta Scaravaglione, designer of medal. Medal awarded to Walter Spencer Robertson. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence to and from Rhoads as Vice-president Board of Trustees. Dates- 1934-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contributions to a purchase fund in his memory. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek, Mrs. J.G. Pollard and P. Mellon. Subject- Museum business, exhibitions. Pratt Estate, John Barton Payne Endowment, Resolutions in memory of Judge Payne, resignation of Colt, Fellowships. List of employees and job descriptions. List of Benefactors, Patrons and Life members, Board of Trustees, Rockefeller Foundation, segregation, contributions, gifts and accessions, including Mellon. Dates- 11/40 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W. Robertson, Mrs. J.G. Pollard and W.S. Rhoads. Subject- General letter to membership from the President (W.S. Rhoads), Webster S. Rhoads Medal, Artmobile III and South Wing. Dates- 1951 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General Museum Business, VMT, policy regarding expense accounts and museum entertaining. Dates- 5/57 - 11/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitation list, invoice for cocktail party honoring W.S. Rhoads. Dates- 5/8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Westwood Winfree (Pres. RAA). Subject- Winfree's participation in the Virginia Rotating Exhibition and other events. Requests for restructuring of jurying procedure. \"Reasons For Suggesting A State-Wide Artists Study Committee To Be Sponsored By The Virginia Museum Of Fine Arts\". Dates- 2/56 - 9/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Richmond Chamber Music Society programming seasons: 1950-1, 1951-2, 1952-3, 1953-4 and 1954-5, membership rosters 1951-2 and 1954-5, etc. Dates- 10/50-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed policy for relations between VMFA and Richmond Chamber Music Society (conducting events there), listing of Society members, etc. Dates- 1/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- To increase Jaycees interest and support of VMFA. List of member organizations. Certificate to L. Cheek as a member of the \"Civil War Centennial Committee\", Minutes from the \"Society of Architectural Historians,1/30/58. The presentation of the \"Distinguished Service Award\" to L. Cheek. Dates- 11/60 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Disturbances in area of Westmoreland Place (Cheek residence), Cheek's Anniversary Party. Presentation of Canal Locks to Mayor M.M. Crowe. Dates- 2/64 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Field trips taken to the museum by schools throughout the state, 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Broadening cultural horizons in Richmond, proposal for Civic Center in downtown Richmond and the necessary steps for improvement of downtown, editorials, newspaper clippings. \"Plight Of Museums Is Very Real\", L.J. Ahlander, 11/25/65, Washington Post, \"Activities Center Study For The City Of Richmond\", Wm. A. Briggs A.I.A. and B.R. Johns A.I.A., Associated Architects, 8/1/64, \"Modern Living\", 11/6/64, Time and \"Are Most cities Too Ugly To Save\", 11/30/64, U.S. News and World Report, Inc. Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains financial statements for the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- proposed relationship of The Richmond Film Society with the Museum (use of Museum facilities), Film Society programs 1951-2, 1952-3, 1953-4, 1954-5 and 1955-6, etc. Dates- 6/50-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of compliment to editors and journalists of Virginia periodicals regarding VMFA. Dates- 7/58 - 19/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Priscilla Crum, T. Colt, L. Cheek and M. Christison, Theresa Pollack, H.H. Hibbs and Mrs. J.G. Pollard. Subject- Exhibitions and musical programs. Dates- 9/45 - 11/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, J. Schaeffer (General Manager, RSL) Subject- Opening performance and concert dates. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gala opening event of Artmobile. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Willock (Exec, Dir.). Subject- Renewal of Affiliate members. Dates- 1961 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Charter proposal for a Roanoke museum and minutes from the Roanoke Fine Arts Committee. Dates- 12/47 - 9/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Special building committee, draft of letters from Affiliates/Chapters in support of VMFA expansion to be sent to the House Appropriations Committee , members of the Senate and members of the State Finance Committee. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and E. Will (Pres.). Subject- Purchase of \"St. John the Baptist\", Rodin, in memory of W.S. Robertson. Dates-2/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile proposal, museum business, exhibitions: \"George Stevens Makes A Film\". Fellows organizing campaign, selected list of paintings in VMFA permanent collection. Rosters: Members of commission of State Capital and Outlays and Means of Financing; VMFA Executive Officers and committee's. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter from the President to the membership (W. Robertson), grant proposal for North Wing architectural plans.  List of objects needed for VMFA collections.  Rejection of the north facade by the Arts Commission.  Schedule of events, newspaper clippings.  \"Connoisseur's Comments\", guided VMFA tours narrated by world-famed collectors, critics and curators.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- letter of interest in erecting a monument to Bill Robinson. Dates- 12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rockefellers' membership in the Fellows and their subsequent donation to aid in the Drama Development program. Dates- 1955 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Charles Fahs (Dir. Rockefeller Foundation), W.S. Rhoads. Subject- Proposal for the formation of VMT with initial funding from the Foundation, \"Charter for the Rockefeller Foundation\": Statement of purpose and methods of operation. Dates- 1/50-12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Roman Bronze Works Inc. Subject- casting busts of Gov. Pollard and Judge Payne and casting other figurative groups. Dates- 9/35-1/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of authentication. Dates- 4/60 - 8/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Addresses made by F.D. Roosevelt upon the opening of the Museum of Modern Art. Dates- 6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Matilda McCord Roper (Mrs. George W. Roper). Subject- donations. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, expansion of VMFA print collection, The Alverthorpe Collection, loans of prints. Dates- 8/65 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA as recipient of a rose garden by the Garden of the Patriots. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- M. Ross as VMFA advisor, on retainer, for Byzantine and Medieval acquisitions. the Heeramanecks and Hunt Collections. Dates- 9/65 - 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data and brief history of Rothschild family. List of paintings in VMFA from Rothschild Collection. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Text and pamphlet for the opening of the Melchers Room. Photographs. Dates- 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Edward B. Rowan. Subject- mural competition for post offices in Petersburg, Hopewell and Richmond. Colt acted as chairman for a regional committee to carry out this competition for the Procurement Division, Public Works Branch of the Treasury Department, etc. Dates- 3/30. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- securing a speaker (Mr. Everett Parker Lesley, Jr.), obtaining a transparency from Time magazine of one of the Museum's eggs, etc. Dates- 3/53-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- General correspondence to Trustees regarding Museum business and events. Photographs and slides. Date- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- General correspondence regarding loans, acquisitions and invitations. Dates- 1/62 - 11/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Eero Saarinen. Subject- Aline Saarinen broadcast on the VMT Shakespeare Preview. Drawing. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition: \"Master Drawings\", with lecture by Paul Sachs. Theft of Degas drawing on loan to VMFA from the Fogg. List of London and Paris art dealers. Dates- 5/51 - 6/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- letters from other U.S. Art Museums about staff salaries and Curator's Report activities from the 1st season 1/16-5/24 1936. Dates- 1936- 7/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for purchase of cases from the Greek Gold exhibition. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Form letters: members, advertisements, donors, other institutions regarding loans, lectures and publication requests, etc. Dates- 1967 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuels gift of building for the Front Royal Library. Loan and cleaning of \"View Near Oxford\" by Richard Wilson. Dates- 4/52 - 9/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- 10th Miller and Rhoads Women's Forum; invitation to Philip Johnson to serve as a speaker. Biographical data on James Parton and Max Abromovitz. Dates- 8/51 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Hans van Weeren-Griek. and Concetta Scaravaglione. Subject- exhibition of her work and insurance of a piece that was damaged. Dates- 9/40-7/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events and mailing schedules. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events and mailing schedules, Paul Taylor Dance Tour, Safari-Dinner, agendas, etc. Dates- 7/70 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Appraisal of an agate cup belonging to Mrs. Paul Mellon as a work of art, for the Customs Commissioner. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- war-time high school art exhibition held at Miller and Rhoads department store, list of hostess for this event. Dates- 1943-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Invitations and general correspondence regarding the opening's of new art centers/buildings of various institutions, anniversary celebration, National Presentation Broadcast of Artmobile. Dates- 9/60 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.G. Pollard. Subject- Loan of items in his Collection to VMFA and his service as Vice-President. Exhibitions: American Contemporary Prints and Sport and Horse. Melcher Estate, accessions and acquisitions, list of gifts to VMFA. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Scott, Horner and Mason, Inc. Investment Securities in Lynchburg, VA. Subject- possible investments by VMFA, financing the new wing and the possibility of matching a Public Works Administration grant. Dates- 5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Seay collection of Decorative Objects, list of objects in Seay home. Dates- 1/39 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and letters to and from Leslie Cheek. Dates- 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Service reports on traveling exhibits. Dates- 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about slide loans. Dates- 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum Services. Correspondence regarding loans 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Houdon statue of Washington on loan to VMFA, insurance valuation. Seymour's lecture on \"Houdon in America\" and panel discussion on contemporary sculpture. Opinions on dating and provenance of VMFA objects. Dates- 5/50 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Shalett's articles on the VMFA for the \"Saturday Evening Post\" and \"The Diplomat\" Dates- 8/56 - 10/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, letters of invitation to VMFA events, College Drama Festival. Melchers Estate: \"The Last Supper\", newspaper clippings and postcards. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Virginia Film Society, Dance Tour, VMT: job descriptions, Table of Organization, staff hours, Theatre Associates and Annual Theatre Train. Date- 4/66 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Agenda and events for Entertainment Committee, loan of Col. Anderson bequest items. Dates- 1/59 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and E. Shiflet (Sec. of Education). Subject- budget, museum business, financial profile, role of office of Education and pamphlets. Executive Order #20 and #21: Reassignment of VMFA to the Office of Education. Dates- 8/72 - 12/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dealer in antique English silver and his gift to VMFA of a silver teapot. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT, juror search, biographical data, exhibition catalogues, loans of art work, accessions, gifts and general museum business. Dates- 1956 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- General correspondence, exhibitions, requests for publications, pamphlets, invitations, exhibition catalogues, A.D. and W.C. Williams Trust Fund. Photographs. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- paperwork authorizing R.A.Velz and W.J. Rhodes to sign vouchers and checks, list of Virginia Museum Theatre expenditures 1956-7. Dates- 2/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Blank stationary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- excerpts from Virginia Architecture exhibition catalogue, miscellaneous correspondence about catalogue,  etc. Dates- 11/58-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- compliments on exhibition \"Architecture in Virginia\", thank you notes to the Museum about exchange/gift publications of exhibition catalogue-Architecture in Virginia 1776-1958: The Old Dominion's Twelve Best Buildings, etc. Dates- 9/58-4/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- biographical information on various 20th century architects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- G. Smith (architect, writer and photographer), biographical data, and his collection of Travel Posters. Newspaper and magazine clippings, invitations. Application for Fulbright grant. Dates- 2/52 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Her membership on Executive Board, donation and contributions. Dates- 5/51 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Marrow Stuart Smith, Virginia artist, correspondence with museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of alumnae in Virginia. Dates- 9/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Christison, and Mrs. J.A. Pope (International Traveling Exhibition Service). Subject- Exhibition: \"Swedish Textiles Today\": catalogue, pamphlet. Brussels World's Fair, U.S. Pavilion. Catalogue of Traveling Exhibitions for 1961-62. Dates- 4/53 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- S.A.H Directors meeting in Richmond, formation and organization of a Virginia chapter: agendas, lists of prospective members, directors of S.A.H., minutes from S.A.H. meeting. Dates- 12/52 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Meeting agendas, Architects Virginia Tour, preservation of the National Capitol, Shirley Plantation, landmarks in danger. Proposal to coordinate the activities of the SAH with AIA and the National Trust for Historic Preservation in the field of Historic Buildings Preservation. SAH: Minutes of Executive Board, 10/26/57, 5/17/58, 10/18/58, Treasurers Report, 1/58-4/58, Newsletters. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lists: Fellows, Staff and Board of Trustees. Invoices, receipts and newspaper clippings. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Dinner schedule, agenda and pamphlet. Dates- 5/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Confirmation for Dinner event and agenda. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fall meeting to be held at VMFA, conference agenda, mailing list and pamphlets. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Meeting agendas, events schedules, attendance rosters, officers, newsletters, registration forms. Report of SEMC '72 meeting, \"SEMC Notes\", no. 1, 1974 and no.1, 1975. Dates- 1972 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- printed material for exhibition \"Southern Exposures\", the following essays: \"Coming of Age of Photography\", \"Down the First Century of Photography with George and Heutis Cook\", \"Concerning the Cook Collection and Its Recovery of the Epos of the Attic\", etc.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Williamsburg International Assembly Speakers, biographical data: Edward Downes, Charles Seymor, Harris Prior and Arthur Drexler. Dates- 1951 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Gaines. Subject- Biographical data of speakers: C.V. Donovan and Joseph Curtis Sloane. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- printed material for the opening for prospective members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safari Theatre Dinners, loan exhibition previews, maintenance. Dates- 1967 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Essay- \"The Art Museum As A Community Center\", by L. Cheek. Pamphlets, newspaper and magazine clippings of other museum programs. Date- 1961 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- early interest and planning of the exhibition \"Sport and the Horse\", etc. Dates- 5/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Frederick Robinson (Dir., SMFA). Subject- SMFA exhibition of Virginia Artists. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions, security, general operations and museum business. Employee policy, regulations, salaries, etc. Dates- 1962 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General Museum operation, exhibitions, publicity evaluation, landscaping of Confederate Chapel, loan exhibition previews. Dates- 1963 - 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Employee policy/regulations, programs division, collection divisions, staff information and table of organization for Theatre Arts Committee. Newspaper clippings and salaries. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Suggested structure of staff organization and salary scales. Dates- 2/54 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA By-Laws 1958 and 1959, income sources, proposed improved operations plan. Salary information from the Smithsonian Institution. Job description for Assistant Administrator. Date 1959 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Head of Collections Division and Education Supervisor, Program Division. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Business meeting and reception regarding architectural improvements, gifts and loans to the State Department reception rooms. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- reception for General Assembly Wives. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Service reports for loans of exhibits, films and slides. Dates- 1951-1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for information regarding circulating visual materials 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member requests for exhibitions 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member requests for exhibitions 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member Requests for gallery visits and lectures 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Out of state inquiries about Museum services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Out of state inquiries about Museum services 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of prospective organizations for using extension services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for circulating visual materials and exhibitions 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General Correspondence Traveling Exhibitions 1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains statement for addenda to the Governor's report concerning the VMFA.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Saul Steinberg. Subject- exhibition of Steinberg's work and lecture by Steinberg, etc. Dates- 8/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening of new auditorium, purchase of pianos and price lists. Program for the Chamber Music Society, newsletters from Steinway and Co. , 4/55-6/55. Dates- 4/55 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Philip N. Stern, Chairman of the Art Commission, Commonwealth of Virginia. Subject- Art Commission meetings, funds for museum equipment, funding from the Public Works Administration, architectural exhibition, etc. Dates- 7/35-10/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Steuben correspondence with the VMFA, 1938-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Ten Talents In the American Theatre\", Ed. David Stevens; \"Theatre For Art's Sake\" by L. Cheek. Proposal to the Rockefeller Foundation for financial support of VMT. Dates- 12/49 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Her gift of \"La Signora in Biege\", Lazzaro Donati. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, preliminary design program for South Wing Addition, letters to other museums regarding design, security and general building functions. Dates- 1948-49, 1962-63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Jas. N. Trevillian (Secretary). Subject- Conductor of the New York Philharmonic Orchestra, concert at the VMFA and program. Dates- 1947 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA and Gordon E. Strause, 1935-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Strause and various Museum staff. Subject- exhibition of his collection at the Museum, written complaints by Mr. Strause, Strause is named 1st honorary benefactor of the Museum by the Board of Trustees. Dates- 3/36-5/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J. G. Pollard, T. Colt and L. Cheek. Subject- Lewis S. Strauss, founder of the Albert Einstein Award (for achievement in Natural Sciences). Chairman of the Atomic Energy Commission, his service on the VMFA Finance and Membership committees. Letter of Henry Anderson regarding discussion with Paul Mellon and VMFA expansion potential. Newspaper and magazines clippings, Artmobile, gifts and contributions. Dates- 1945 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Fellows: theatre Orientation, general meetings, prospective Fellows, report of the Fellows 5/3/67. Date- 1965-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- As a Trustee and member of the development committee. Contributions. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Mr. William A. Stuart. Subject- Trustee/Museum business, etc. Dates- 7/51-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Julia Sully to the Museum. Subject- Virginia Art Index. Dates- 1935-48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and J. McGee (Sunrise, Pres.). Subject- \"Sunrise\", Charleston Cultural complex, budget analysis, roster of Executive Board, Annual Report, 1971, pamphlets. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt and L. Cheek. Subject- Early correspondence concerning museum services, statement of purpose, Pratt Bequest, exhibitions and requests for publications. Dates- 7/45 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General correspondence, request for publications, employment, Fellows, Russian Loan Bill, gifts, contributions, biographical data. Dates- 6/56 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Museum business, loans of art works, list of objects for long term loan, zoning ordinance. Paul Tishman Collection, Troubs Collection of Russian miniatures. Provenance of St. John the Baptist, Rodin. Pamphlets, brochures and press releases. Dates- 2/70 - 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. J.G. Pollard, M. Christison, John Canaday and Maurice Bonds. Subject- Informal discussion series on art, artists and technique. Topics: Lithography, sculpture, restoration, art history etc. Includes biographical data on lecturers and exhibitions. Excerpt from \"American Silversmiths and Their Marks II\", by Stephen G.C. Ensko. Dates- 9/48 - 3/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding Mrs. A.I. duPont's gift of tapestries to the VMFA and a subsequent exhibition, 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding taxes on honorariums, admissions and rental space, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA series of weekly TV programs, list of suggested topics, program guests, resource information from other Institutions, film rentals, television presentation of the 25th Anniversary and minutes of the Mayor's Committee on Educational Television, 11/11/53. Dates- 3/54 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- The development of a public television station to be shared by educational institutions. TV question and answer scripts and newspaper clippings. Dates- 1/49 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings. Dates- 1961-62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Salary scales, job openings at VMT, applicants, referrals, biographical data, financial statements, staff tors and guest speakers. Dates- 3/58 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Thalhimer. Subject- Biographical data, production, general theatre administration and Ford Foundation Fellowship Grant. Dates- 5/58 - 7/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Basil Langton. Subject- Langton's service as VMT guest director of \"The Tempest\", in celebration of the Jamestown Festival; program and procurement of professional actors. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Thalhimer Jr. Subject- Exhibit: \"Habiliments for Heroines\" underwritten by Thalhimers, VMT: \"Lady in the Dark\", Lorren Aldrich Collection. Catalogue: \"The Helena Rubenstein, Princess Gourelli Collection\", Deluca, Editore Roma, June 1953. Dates- 11/51 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as a Trustee and Chair of the Theatre Arts Committee on theatre and Television, museum business, salary scales, general operation of VMT, budget, income, newspaper clippings. Contributions and gifts. Dates- 6/52 - 3/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Underwriting of Mediterranean court, plants and flowers. Gift of Sandwich glass. Dates- 5/55 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Thayer's service as special assistant to the Secretary of State for Cultural Affairs. Biographical data, UNESCO, ICOM, International traveling Exhibitions, placement of American works of art in United States Embassies. Dates- 5/59 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committee Minutes 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committee minutes, agendas and programs, box office grosses etc. Letter from Paul Mellon. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Establishment of a theatre Collection by Louise Branch of drawings, scenery and costumes. Dates- 2/59 - 3/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Thalhimer. Subject- Proposal for costume ball. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Morale and general organization of the VMT Associates, proposed speakers, newsletter and roster of VMT Associates. Dates- 4/57 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and William Morrison. Subject- taped readings by Henry Fonda, Lee Remick and Olivia deHavilland on the anniversary celebration. Reviews and letters to other film stars. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safari-Dinner agenda and setup. Dates- 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reviews, gift of Dan River Mills fabrics for costumes. Programs: \"Streetcar Named Desire\", \"School For Wives\", \"Camelot\" and \"The Odd Couple\". Dates- 1967 - 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- reviews, letters of compliment. Program: \"the Royal Hunt of the Sun\" Dates- 1968 -69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and staff hours. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Report of Acoustical Analysis for Auditorium of Virginia Museum Theatre\" Dates- 9/1950 and 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Review, performance production. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Theatre-designer: salary and letters of recommendation. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMT, Dance, Film and Chamber Music Societies: financial statements, salaries, budgets, production costs, income records, purchase of stage equipment and suggested future of organization. Dates- 2/54 - 12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- bus tours from Virginia towns for Theatre evenings, sponsors by Virginia Federation of Women's Clubs, newspaper clippings. \"The Virginia Club Woman\", vol. XXXII no. I 8/55. Dates- 1/59 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chairman of Yale Drama Dept., his service as consultant to VMT, budget suggestions for proposed VMT, various drama activities, playbill, budgets from other University Drama departments. Dates- 1/56 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program, letters of disagreement between directors and actors. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The first annual event, critic and counselors: Virginia Freeman, Meriam Rosen, Dan Wagoner, Patricia Wityle. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Valerie Gettis as guest speaker/artist. Dates- 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Invitations to college Presidents. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Alan Schnieder, Speaker: Jo Mielziner. The 1st College Drama Festival, guest lists and exhibition of Jo Mielziner's theatre designs. Newsletter. Dates- 8/56 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Harold Clurman, Speaker: Norris Houghton. Events schedule and program. Dates- 4/57 - 2/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Norris Houghton, Speaker: John Gassner. Event agenda/program, brochures. Dates- 4/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Henry Hewes, Speaker: Marc Connelly, reception, production procedure, etc. Newsletter 2/60 Dates- 10/59 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Stella Adler and Speaker: Alfred de Ligre, Jr. Event schedule, festival speaker, program, biographical data, reviews. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Event agenda, scheduling, program and newspaper clippings. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Robert Lewis, Speaker: Edward Albee. Event agenda/program, brochure, pamphlet, etc. Dates- 10/56 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Original drama by John C. Collison, VMT Premiere. \"New Play in Virginia\", Wm. Morrison, Encore vol.6 ,no.5 Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and L. Cheek. Subject- Reorganization of Museum Theatre 1972-73, budget and summary of proposals. Additions to VMFA statutes and By-Laws. Theatre Committee annual Report 6/30/67. Dates- 5/67 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contributions, minutes of Theatre Patron Campaign Committee. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- theatre Arts Committee Executive Meeting minutes 6/30/70 and 7/6/70, Rosters for various Executive committee's of VMFA. Reviews and pamphlets. Dates- 9/69 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- HEW grant to produce and circulate throughout Virginia a play during 67-68 season, suggested dramas. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions: \"Gibson Collection of Contemporary Italian Art\", \"Contemporary Japanese Art\", \"Ten Reynolds Sculptures\". Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, A.H. Ballet and Robert Telford. Subject- General VMT business, schedule of events, scenic design, reviews, performance, staff policy/procedure, ticket prices, season subscriptions, etc. Dates- 1955 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- College Drama Festival, Dance Society and Chamber Music Society. Performance programs, events schedules, guest director contract, pamphlets and contributions. Dates- 1959 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- General Theatre Business, contractual agreements, events schedules, Richmond Film Society, College Drama Festival, financial statements, theatre reviews and job applicants. Dates- 5/61 - 9/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- theatre openings, job descriptions, applicants, hours. Dates- 12/62 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT, Vignettes tour, general estimate of costs, Drama, Dance and Music programs.  \"Virginia Report For State Arts Agency Individual Projects July 1, 1966- June 30,1967\" and \"Performing Arts in Virginia Education\" an introductory survey. Dates- 1966 -68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Budgets, financial summary, events schedules, newsletters, etc. Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Season events, programming, budget and revenue, newsletters, list of season subscribers and press kit for the Mummers Theatre, Oklahoma City, Oklahoma. \"Constitution of the Virginia Museum Theatre Associates\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Theatre business, budgets, salaries, production schedules, invitations, program design, contracts, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters to and from VMT subscribers, program for \"Purlie\". Proposals for summer season productions, opening night telegrams. Dates- 1974 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Operating expense appropriation, \"VMT Sound System Report\", and synopsis of No Title play of the life of Lord Byron by Romulus Linney (later titled \"Childe Byron\"). Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Reviews. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Keith Fowler. Subject- Reviews, production calendar and letters of compliments. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Event underwritten by the Weeden Foundation. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of invitation, remarks after preview. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Programs. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Payment for use of two geese. Program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Financial report and program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Program, reviews, letters of complaint from theatre patrons regarding play content. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program, search for guest director. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Review, program and editorials. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Letters of complaint and approval from theatre patrons. Dates- 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List of series underwriters, proposal for music lecture series conducted by Dr. John White. Dates- 10/58 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Patron financial support and proposal for a Sunday lecture series: \" The Eager Listener\". Dates- 9/59 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Harpist: Nicanor Zableta, brochures of concert series sponsored by other museums and galleries. Dates- 1/50 - 1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program Dates- 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Morton Thalhimer. Subject- General letters to theatre subscribers, brief outline of the five scheduled plays and descriptions of the major characters. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Playbills, magazine and newspaper clippings of performances in theatres other than VMT. Dates- 12/54 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews and programs for \"Separate Tables\", \"The Skin Of Your Teeth\", \"Ondine\", \"Kiss Me Kate\" and \"The Kids\". Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Rehearsal schedules, invitations, programs: \"Life With Mother\", \"The Limbo Kid\", \"Pygmalian\" and \"The Brothers Karamazov\". Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews, letter/telegrams of compliment. Programs: \"Teahouse of the August Moon\", \"The Woman from Colchis\", \"Hall of Mirrors\", \"Caesar and Cleopatra\" and \"The Most Happy Fella\". Dates- 1962 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reviews, letters and telegrams of compliment. Program: \"A Thousand Clowns\". Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Robert Telford. Subject- Reviews, letters/telegrams of compliment. Programs: \"The Admiral Crichton\", \"Hedda Gabler\". \"Tartuffe\" and \"No Time For Sergeants\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews, letters/telegrams of compliment. Programs: \"The Comedy of Errors\", \"The Visit\" and \"Fanny\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters/telegrams of compliment. Programs: \"Androcles and The Lion\", \"The Miracle Worker\". Contributions from Dan River Mills. Photographs. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Reviews, letters/telegrams of compliment, opening night gala, Safari Theatre/Dinners. Programs: \"The Glass Menagerie\", \"Once In A Lifetime\", \"Julius Caesar\", \"Blithe Spirit\" and \"Three Penny Opera\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Reviews and Letters/telegrams of compliment. Programs: \"Charley's Aunt\", \"The Sorrows of Frederick The Great\", \"Uncle Vanya\", \"Twelfth Night, On What You Will\" and \"the Man Who Lost the River\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Timetable, production schedules, Safari theatre Dinners, programs and reviews. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters to former subscribers seeking financial assistance for the upcoming season. Photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letter/telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- VMFA By- Laws 1972, Minutes of Theatre Arts Committee 10/21/71, agendas, budget and cost estimates. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Programming, policy for relations to the VMFA, contractual agreements, events schedules, promotion plans and financial statements, programs and brochures. Executive board meetings: 7/57, 11/57, 2/58, 4/58, 5/58. Dates- 4/56 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters and contributions from Chamber Music Society Patrons. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for the formation of the Dance Society, guest list, officers, policy regarding the Dance Society's relationship to the VMFA. Minutes of Executive Board, 5/11/56, 6/12/57, 7/57, 12/57. Receipt and attendance records, contributions, programs, pamphlets and guest performers. Dates- 5/56 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters and contributions from patrons of Dance Society. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Rockefeller grant to the museum to develop theatre and a program in drama, 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Kay Rockefeller. Subject- Traveling exhibition troupe for children's theatre: financial statement and invitations. Dates- 9/57 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program for \"Rossum's Universal Robots\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT designated seating area according to race, and letters of protest in support of Dr. Mary Elizabeth Johnson. Dates- 1/56 - 5/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letters/telegrams of compliment. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Robert Telford and Morton Thalhimer. Subject- Attendance records, publicity program and biographical data. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters and telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cost estimate, theatre needs and improvements. Date- 12/56 - 7/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sample survey, list of Chapter/Affiliate communities. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Morton Thalhimer and Robert Telford. Subject- Theatre Arts Committee agenda, VMT proposals for: director, administrator, production and apprentices. Date- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"The Gallows Man\", limited performance schedule, invitations. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Events program, list of composers represented. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cancelled, considered distasteful for VMT audience. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letters, telegrams of compliment. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- AAMD conference, theft of Roualt drawing from Toronto Gallery, requests for publications. Dates- 5/50 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains reports concerning slide sets and film strips distributed throughout the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fashion designer to lecture on fashion from 1752 to 1952 for the exhibition: \"Habiliments for Heroines\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- New York World's Fair, newspaper and magazine clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His election to VMFA Board, museum business. Dates- 5/51 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings of Governor Tuck. Dates- 12/49 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, Tunnard's expertise on city planning. Virginia Town Case Study Group: \"Problems of Planning in the Small Southern Town\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Severance of affiliation to the VMFA. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artist for VMFA Christmas card. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt and Wm. Gaines. Subject- Seminar to expose students and teachers to the function and operation of VMFA, agenda, program procedure, etc. Dates- 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Questionnaire from UCLA Graduate School of Management and the College of Fine Arts on the priorities related to the Arts, pamphlets. \"U.S. Information Agency-Its Task in World Affairs\". Date- 4/51 - 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Annual Meeting Minutes, travel authorization, organization news, pamphlets, general UNESCO business. Dates- 10/46 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Conference topic: Aid to South American Museums, project development, UNESCO Annual Report, Report of Program Committee. The Voice of America, Forum Lectures with transcript of by L. Cheek of \"The Art Museum As A Community Center\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for loans of slides from South American Museums for L. Cheek's presentation to Denver conference, list of South American Museums. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening of UDC new building. Resolution concerning accessibility to members of UDC, invitations. Dates- 6/57 - 12/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence, reports, minutes. Expansion of local service. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Charitable organizations that have received UGF monies and fund raising campaign. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The Air Force Memorial Center: statement of purpose, design, personnel requirements, building program, Minutes of U.S. Air Force Fine Art Committee 6/58 and 12/60, \"Proposal For The USAF Memorial Education Center\", travel vouchers and floor plan for the Academy Museum (Planetarium). Slides. Dates- 2/57-4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Edward R. Murrow as Director, merging of the People-to People Program (organization of museum professional) with the USIA. Newspaper clippings. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Forum Series\": International Broadcast, lecture series. Essay- \"the Art Museum As A Community Center\" by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- UNESCO Action to safeguard Nubian monuments due to the construction of the Aswan Dam. Roster of Honorary Committee, International Action Committee, United Arab Committee, Executive Board Minutes. Dates- 4/60 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Virginia State Employees U.S. Savings Bond campaign, handbook for canvassers, meeting agendas and progress reports. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Col. H.W. Fitzroy. Subject- Coordinating agency between institutions and other cultural, educational and scientific agencies in Virginia through a lecture series of visiting scholars. Dates- 9/54 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Bayly Art Museum and the McIntire School of Fine Arts at the University of Virginia. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Lecturers and AIV contributors, loans of objects, fellowships. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and T. Colt. Subject- UVA Museum loan of objects and lecture tours, fellowships. List of prints on loan to VMFA from Catesby estate and list of Lurcat Tapestries. Dates- 8/47 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Museum business, Artmobile, VMT, requests for loans, contributions and gifts. Reference to photos of ancient Greek sculpture, architecture and landscape views, invitations, pamphlets and postcards. Dates- 10/58 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains the schedules for staff vacations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Hans van Weeren-Griek, curator of Education at the VMFA. Dates- 1940-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Report regarding vandalism and misconduct: soaping of the fountains and damage to shrubs. Dates- 11/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Velz' service as VMFA Head of promotion, civilian and military experience record, newspaper clippings and Melchers Estate. Dates- 1949 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains general correspondence of Velz, Associate Director of VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Status of tax deduction, recommendations for event, invitations and dance card. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 9the Annual Viennese Ball sponsored by the Council: Ball Committee, agenda, decoration, invitations, etc. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- Virginia Art Alliance By-Laws, program and minutes of VAA meeting 1945, Report of the Trustees of Richmond Academy of Arts 1933, correspondence with other members of VAA, etc. Dates- 1933-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- program for annual meeting 1941, blank ballots labeled \"Board of Trustees Ballots\", statement of need for a state Supervisor of Fine Arts Education. Dates- 4/40-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- reports of activities of organization members 1942-3, correspondence with organization members-no annual meeting held this year due to World War II, etc. Dates- 3/43-5/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcement, agenda and program for annual meeting 1944, correspondence with organization members, election of officers/trustees, etc. Dates- 3/44-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting minutes ('49), listing and certification of delegates to VAA annual convention ('49), listing of the VAA Board of Trustees ('49), etc. Dates- 1948-49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes from meetings and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Miss Helen C. Rose (Virginia Art Alliance President). Subject- correspondence with member organizations, etc. Dates- 3/58-8/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- minutes of Trustees meeting and annual meeting 1959, roster of officers and Trustees, program for annual meeting 1960, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of Va. Art Alliance). Subject- announcement, replies agenda and program for annual meeting of (1936) the VAA Trustees, listing of organizational members to VAA, certification forms for delegates to the VAA annual convention (1936), etc. Dates- 5/35-5/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension VMFA, Secretary of VA. Art Alliance). Subject- announcements, program and report for VAA annual meeting 1937, resolution changing the organization of the VAA (consolidating its function with that of the VMFA), certification of delegates to VAA annual meeting 1937, etc. Dates- 4/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept., Secretary of VA, Art Alliance). Subject- VAA annual meeting announcement and program (1938), certification for delegates to VAA annual convention 1938, correspondence with member organizations about the reorganization of the VAA (consolidating its function with that of the VMFA), etc. Dates- 2/38-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance). Subject- announcements and program for VAA annual meeting 1939, certification of delegates to the VAA annual convention 1939, letter from Gayle to the State Board of Education supporting the appointment of a state supervisor of art, etc. Dates- 3/39-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1940, correspondence with member organizations, nomination of trustees, certification of delegates to annual convention 1940, etc. Dates- 3/39-5/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1941, report of the VAA 1940-1, listing of organization members, By-Laws of VAA 1934, correspondence with trustees, etc. Dates- 3/41-4/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- program for annual meeting 1942, roster of member organizations, reports from member organizations, Annual Report of the VAA 1941-2, listing of VAA lectures in 1941, Museum Bulletin (VMFA) vol.2, no.6, 1942etc. Dates- 3/42-4/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcements, program and minutes for annual meeting 1944, reports of member organizations 1944, certification of delegates to annual convention 1944, listing of Board resolutions during war time, roster of member organizations, etc. Dates- 4/44-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA Art Alliance). Subject- announcements, program and minutes for annual meeting 1945, roster of trustees and nominating committee, reports of member organizations, certification of delegates to annual convention 1945, etc. Dates- 3/45-2/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945, announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945,announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting program ('46 and'47) and minutes ('46), list of members ('47), certification of delegates to annual VAA convention ('47), Reports of art activities around the state, etc. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance)and M.B. Christison (Curator of Education). Subject- copies of 1947 resolution about art display areas in public buildings, minutes of annual meeting 1947, announcements and program for annual meeting 1948, roster of member organizations 1948, correspondence about securing guest speakers for VAA annual convention 1948, certification of delegates to annual convention 1949, etc. Dates- 7/45-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- membership roster ('48), list of trustees ('48), announcement, minutes and attendance to annual meeting ('48), summary of panel discussion about art education in Va. schools, statement of VAA purposes and objectives, etc. Dates- 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- minutes of the Virginia Art Alliance meeting ('47 and'48), Board meeting announcement and attendance, program of annual meeting ('48), list of suggested nominees to the VAA Board ('48), etc. Dates- 1947-8.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- annual reports of activities made by VAA members. Dates- 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual meeting 1955. Correspondence, resolutions and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence, minutes and agendas. Form letter announcing annual meeting 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes, agenda and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcement and minutes of Fall Meeting 1957, correspondence with member organizations, etc. Dates- 11/57-12/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Meeting held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1957, appointments to nominating committee, minutes of the Trustees meeting 1957, roster of organization members, The Annual Review of the Virginia Art Alliance 5/39,etc. Dates- 2/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and tentative reservation list for annual meeting 1958, etc. Dates- 9/58-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1958, reports of member organizations, Virginia Art Alliance By-Laws, proposed revisions to By-Laws, VAA procedures, appointments to committees and to board, etc. Dates- 1/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes from annual meeting 1959, member organization reports, roster of VA. Art Alliance officers and trustees, VAA By-Laws, etc. Dates- 5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison Assistant Director VMFA). Subject- announcement and schedule for annual meeting 1959, blank reservation forms for school artmobile visits, etc. Dates- 10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and program for annual meeting 1960, listing of nominating committee appointments, roster of officers and trustees, listing of delegates to annual meeting, etc. Dates- 3/60-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- reports from member organizations, etc. Dates- 1956-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of organizational members and their attendance, correspondence and form letters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of trustees and list of members 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of trustees' meeting 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of Trustees, 1952-55. Correspondence, minutes. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee correspondence, minutes and members. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard Subject- preliminary work for the VAA booklet: \"Facilities for Organization Members Comprising the Virginia Art Alliance\". Dates- 8/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Secretary Virginia Art Alliance). Subject- minutes of Virginia Art Alliance (VAA) annual meeting 1957, proposed revisions to By-Laws, etc. Dates- 8/56-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- outline of a state art federation, constitutions, by-laws, information on other art federations (i.e.: The American Federation of Art, The Kansas State Federation of Art, The Indiana Federation of Art Clubs, etc.), etc. Dates- 1/34. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Va. Art Alliance procedures and a short history, draft of proposed revisions to VAA By-Laws, Annual Review of the Virginia Art Alliance. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA/ Secretary of the VA Art Alliance). Subject- VAA By-Laws 1934, resolution (1936) to consolidate the functions of the VMFA and VAA, information about the development of a new type of VMFA annual membership- the organization membership, etc. Dates- 1934-10/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- listing of Trustees 1934- 39, Trustee meeting announcements, letters accepting election to the VAA Board of Trustees, etc. Dates- 11/34-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA representative on the Virginia Art Commission. Dates- 11/55 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- selecting and securing jurors for the exhibition \"Virginia Artists 1955\", listing of pieces and artist included in the exhibition, printed material for the exhibition, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Paul Smith, Rose Slivka and Frank Getlein. Salon des Refuse's, biographical data, exhibition catalog. Dates- 6/66 - 6/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Prospective jurors and exhibition announcement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Jurors: Thomas Hess. Exhibition statement, reception, guest list, members preview, program agenda, discontinuation of salon des refuse's, installation and exhibition catalog. Dates- 1967, 11/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding auditor's reports. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Audit Reports 1936-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Auditors Survey and Systems study of the VMFA. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Morrison. Subject- Filming of \"California Watercolors\" traveling exhibition with footage of Virginia Beach Sidewalk Show included in the 25th anniversary film. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospectus for the Virginia Center For the Performing Arts. Statement of purpose: Academy-Conservatoire of Dramatic Art with training center and professional theatre. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding objects and paintings in private collections throughout state of Virginia. Correspondence with artists and owners. 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Statement of mission, NEA grants, proposals, awards, potential applicants, recipients. Collectors' Circle: Arts and Humanities Challenge grants for Conservation projects. Degas exhibition. Dates- 2/74 - 6/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VCU and U of R Drama departments. VMFA/VCU Museum Methods Course. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Current/future cooperation between VCU and VMFA: theatre, Art Historical studies, education, museum training, music dept.'s, VCU Conservation Lab and Anderson Gallery. Dates- 1/73 - 2/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Paul Smith. Reception, guest list, program, agenda and exhibition catalog. Dates- 3/71 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Juror: Henry Wolf. Event program, invitations, guest list, statistics regarding entrants, certificate winners, etc. Exhibition catalogs for \"Virginia Designers\", 1970 and 1971; \"Virginia Photographers\", 1970 Date- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding state budget 1946-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VEA Centennial Event and retired teachers complex, theatre program and Executive Committee Minutes, 12/61. Dates- 10/63 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Retired teachers apartment complex proposed for the 2900 block of Grove Ave., later rejected by the City Council, newspaper clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Exhibition: \"American Rooms in Miniature\", sponsored by Va. Federation of Women's Clubs, sponsorship of statewide tour of Artmobile, newspaper clippings and pamphlets, \"Virginia Journal of Education\", 10/63, catalog of \"American Rooms in Miniature\" by Mrs. J.W. Thorne, Art Institute of Chicago, 1941. Dates- 6/53 - 2/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Virginia Federation of Women's Clubs Statewide Arts Festival. Dates- 5/67 - 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Thank you notes from newly elected/reelected members of the House of Delegates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. John. S. Battle. Dates- 1949-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. Colgate W. Darden. Dates- 1942-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. George C. Peery. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Bills vetoed and passed by Gov. Thomas B. Stanley [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. William M. Tuck. Dates-1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Multi-level Arts Festival held annually in Abingdon, Va., loans of art works, consultation on programming and pamphlets. Dates- 11/52 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, F. Numan (Wm. and Mary) Subject- Meeting to focus on Architecture and the Humanities. Dates- 11/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Catalog from Franklin Mint series of silver commemorative medals. Norton Simon summary of Annual report, 1970. Dates- 1970 -71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. J.G. Pollard was chairman of this agency; copies of: Fundamentals of a Growing Recreation Program by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agendas and minutes of meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns a Governor's commission to study juvenile delinquency and the Virginia Advisory Legislative Council. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report to the Committee on \"Recreation as a Function of Government in Virginia.\"   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- copies of the executive order creating the Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- planning a listing of recreation films available through state agencies and 16mm Recreation Films Available in Virginia published by the VA Inter-Agency Committee on Recreation, etc. Dates- 6/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- working papers and final copies of the \"1st Report to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 10/53-1/54; Correspondence Subject- copies of the \"First Report to the Governor by the Inter-Agency Committee on Recreation\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Selected legislation on recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership rosters for the VA Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- statewide recreation reports listing facilities, budgets, organizations and needs, pamphlets from the National Recreation Association, etc. Dates- 7/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sponsored by the National Recreation Association 1955-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains a listing of personnel and the purpose of the committee.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and pamphlets.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets, magazine articles etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of \"Fundamentals of a Growing Recreation Program\" by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- working papers for and final copies of the \"1st and 2nd Reports to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 11/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Sarah Tomerlin Lee, Biographical data, event program, pamphlets and catalog for exhibition. Dates- 9/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum events, rosters: Senate, House of Delegates. Letter to members of the general assembly. Essay- \"The Virginia Museum and the Arts in Virginia\". Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reception for organization composed of Mayors, City Managers and City Officials. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Faye Ambrose and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year. Dates- 5/56-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Charles E. Baker and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications and award letters (1950, 1951) for VMFA in-state fellowship, artist progress reports for 2 years, etc. Dates- 5/50-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Regina Bartley and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 4/51-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Wm. Thomas Bland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA fellowship, thank you notes made by Mr. Bland (mixed media including watercolors). Dates- 8/48-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Robert Brushwood and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations, award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Kuhn R. Caldwell and Mrs. J.G. Pollard, M.B. Christison (Assistant Director), and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, artist progress reports for 1 year . Dates- 12/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mary Frances Cheatham and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA junior fellowship, artist progress reports for 1 year. Dates- 1/49-3/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Janet Clausen and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Robert L. Davis and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA in-state fellowship, photos of artist's work, artist progress reports for 1 year, etc. Dates- 4/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Worden Day and Mrs. J.G. Pollard, M.B. Christison and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, etc. Dates-4/49-8/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. T.V. Downing, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 10/49-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Charles Flynn, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 4/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 2/54-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- award letter for VMFA in-state fellowship, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Barbara Harding and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications ('53 and '54), recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Catherine M. Hipp and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Jem W. Hom and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/56-7/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between W.B. Houghland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Caroline C. Huff and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. William W. Jackson and Mrs. J.G. Pollard and L. Cheek Jr. Subject- applications (1948,1949), recommendations and award letter for VMFA fellowship, etc. Dates- 5/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Knapp and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. James Leedy and Mrs. J.G. Pollard and M.B. Christison (Assistant Director). Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/57-6/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Brenda R. MacBaisey and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year (includes lithography proofs), etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. James P. Moyers and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Joe Ravenscroft and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, application and recommendations for VMFA fellowship, etc. Dates- 8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, recommendations for VMFA fellowship, etc. Dates-8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.F. Russell and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for out-of-state fellowship, artist progress report for 1 year, etc. Dates- 4/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between R.E. Spain and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Mary R. Tatum and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1year, etc. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Primm Turner and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress report for 1 year, application for Catherwood Foundation fellowship, etc. Dates- 3/56-9/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. E. Parker Twombly and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA out-of-state fellowship, recommendation letters written by: Ben Shahn and Robert Motherwell, artist progress report for 1 year, etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress report for 1 year, etc. Dates- 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Howard Woody and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for student fellowship, etc. Dates- 4/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Peter Wreden and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, etc. Dates- 4/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of fellowship applicants, requests for applications, rejection letters, etc. Dates- 3/49-6/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications, recommendations and rejection letters for those applicants not chosen to receive fellowships. Dates- 3/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship, fellowship announcement, minutes of the fellowship committee meeting (1954), etc. Dates- 12/40-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- listing of applicants 1942-44, listing of types of fellowships offered by the Museum, etc. Dates- 1942-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- various applications, recommendations, rejection letters, etc. Dates- 5/46-6/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- announcements of fellowships, blank fellowship applications, requests for applications, various completed applications, award and rejection letters for fellowships, artist reply letters, etc. Dates-4/46-12/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- various applications, recommendations, fellowship recipient progress reports, award and rejection letters, correspondence with Fellowship committee, etc. Dates- 4/47-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject-the organization of the Fellowship committee, requests for fellowship applications, etc. Dates- 9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. John L. Pratt. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship program, minutes of: annual board meeting (1941), executive committee meeting (1940), VA artists fellowship committee meeting (1940), announcement/application for VMFA fellowship, etc. Dates- 6/40-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence about the Museum. Dates- 1939-46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition- \"The Virginia Museum of Fine Arts in Roanoke\", 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Essays by Director Thomas Colt on the Principles and Work of the Virginia Museum of Fine arts and its history.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Timetable, agenda, invitation, guest list. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Henry Callahan, biographical data, entry form, letters to selected applicants, statistics: entrants vs. applicants etc., and jury procedure. Dates- 4/71-2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellowships, VPI Traveling Theatre. Letter to Josef Albers with biographical data, invitations and exhibitions. Dates- 3/59 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains pamphlets and correspondence between this association and Mrs. Pollard's Inter-agency committee on recreation 1949-54; Reports and Inventories of recreational activities of state agencies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- VMFA budget, state issue vehicles, Artmobile, salaries, Robinson House, etc. Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Complimentary memberships to members of the house of delegates, travel regulations, United Givers Fund campaign, management studies. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VSAA membership rosters, membership of confidential secretaries to directors of state agencies. Dates- 9/63 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- Memos to heads of state agencies regarding all manner of state operations, capital outlays. Annual Report of \"Virginia Department of Vocational Rehabilitation\", 1976. Dates- 1/73 - 10/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- Affirmative Action and Freedom of Information Act requests. \"Virginia Local and Regional Planning 1974\"; \"Virginia Commission Visually Handicapped Annual Report\", 1973-74; \"Virginia Highway Commission Annual Report\", 1973-74. Dates- 11/74 - 12/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- State governmental management, budget appropriation requests, Virginia calendar of events, newsletters, museum salaries and the Virginia Privacy Act of 1976. Dates- 4/75 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regards donating old exhibition materials 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Roster of VMFA Trustees, resume of progress in the Fine Arts of Virginia. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and E.M. Kates (VSIF). Subject- Planting of flower beds and maintenance of interior foliage, Elizabeth Kates Foundation. Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cleaning and treatment reports of portraits owned by the Virginia State Library and Archives. Also correspondence regarding the wartime protection of Virginia's cultural materials, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- outline of annual meeting. Dates- 11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- \"Planning Your Town\" traveling exhibition, photos and description of exhibition installation, copy of an essay written by Cheek for Art Digest (4/52) Dates- 2/52-10/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VA Union choir singing at the Museum during the Christmas season, pamphlets about Museum sponsored activities during the holidays, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statewide competition for the design of Memorial and jury selection. L. Cheek's service as advisor to the Memorial Commission. T.J. Collins and Son as winners of competition. \"Program Of Competition For The Virginia World War II Memorial\". Dates- 12/50 - 3/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Program Of Competition For The Virginia World War II Memorial\", firms invited to compete in the final selection, expenses incurred and resumes of applicants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, John J. Wicker Jr. (Chairman). Subject- Competition program, VWW II Memorial Commission meeting minutes, \"Preamble\", for the creation of the memorial, \"Architectural Competitions\", AIA Document no.213. Drawings/plans and photographs for site development. Dates- 5/50 - 12/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 1953 Official Report of the Virginia World War II Memorial Commission. Dates- 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Competition program and closing proceedings. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Applications from selected entrants, official report of the jury in their selection of J.T. Collins and Son, (A.I.A.). Dates- 3/51 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report of the Jury concerning the winning design. Jury members: Waldon Franklin, George Howe, Frederick C. Disque, Edward D. Stone, W. S. Robertson, biographical data included and list of competition entrants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Guest lecturers, membership. Dates- 12/63 - 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. von Keller. Subject- appointment of von Keller as Acting Director of VMFA in absence of Colt, biographical information, etc. Dates- 4/35-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. von Keller (Art Director, Randolph-Macon Woman's College). Subject- personal, Museum events, etc. Dates- 8/42-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Vose. Subject- Acquisitions and provenance of objects. Dates- 7/56 - 2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt. Priscilla Crum and L. Cheek. Subject- Segregation in children's art classes, Study of early 19th century architect and builder John Jordan. WRVA Radio weekly series of VMFA activities, Salon des Refuses' for artists eliminated from the Virginia Artists juried exhibition. World War II Memorial design competition, Artmobile, newspaper clippings, paintings from the Williams Collection and the Helena Woolworth McCann Collection of Export Collection. Exhibition catalog: \"Eugene Wiesz\". Photographs. Dates- 9/45 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Artmobile, AIV, sit-see chairs, collectors circle, Fellows, Wise Pre-Columbian Collection, requests for employment. Woodrow Wilson Birthplace Foundation: Annual Report 10/64. Gifts, loans, contributions and acquisitions. Dates- 3/60 -11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Exhibition announcements, invitations, newsletters, biographical data, requests for employment. Purchases, gifts and acquisitions. Damage report of art works. \"Profile\", re: Tishman Collection of African Objects. \"Hermes Wingraf Quarterly Catalog\", Summer 1971, re: 17th century Dutch still-lifes. Dates- 2/70 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Waddy bequest for fountain construction. Costs of construction and maintenance of fountains: National Gallery, Frick Collection and Isabella Stewart Gardner Museum, includes photographs. Blueprints/plans: VMFA Site Development, East Elevations. Excerpt from the will of Woodson P. Waddy. Dates- 1947, 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Bronze Waddy Memorial Fountains, architects: Eggers and Higgins, Sculptor: Ralph Menconi. Contractual agreement with architects, Blueprints/ plans, detail drawings for : Waddy Memorial Fountain, Triton Fountain, East elevation and site development plans. Dates- 8/53 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Mr. Clifford L. Walker. Subject- inscribed plates for paintings in Museum collection, bronze busts and tablets for founders. Dates- 11/35-8/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Walpole Society Dinner, membership roster and newspaper clippings. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA staff orders for conduct of Museum during an emergency, pamphlets from the U.S. Government, Association of Art Museum Directors and American and British museums about art preservation in case of a wartime emergency. Dates- 1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Warburg Collection on loan to VMFA and his address to collector's circle. Bulletin vol.18 no.9 5/58 Dates- 5/57 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT scenery design. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets from the U.S. Government, Association of Art Directors and American and British museums about art preservation in case of a wartime emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- prospective sale of George Washington portrait by Peale to the state of Virginia, history of the painting, may have been commissioned by the state in 1784 for use by Houdin (the sculptor of the George Washington statue in the capital). Dates- 10/37-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Marion Junkin. Subject- Metropolitan Collection on permanent loan to W\u0026L, letter from M. Junkin espousing the talents/commitments of the young artist Cy Twombly. Hans Gasman as restorer for VMFA lists of objects and exhibitions. Dates- 11/49 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Alexander W. Weddell. Subject- Weddell's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, gifts from Weddell, listing of Trustees 1942, listing of Trustees committee assignments 1945. Dates- 9/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and Mrs. J.G. Pollard. Subject- Founding member of VMFA, resolution from Executive Board in memoriam of Alexander Wilbourne and Virginia Chase Weddell. Award of the Webster S. Rhoads Medal for distinguished service. Minutes of Annual Meeting, descent and authenticity of a pair of copies of portraits of George Mason and his wife. Dates- 7/45 - 1/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Foundation financial support: VMT, library, contributions to Fellows fund, book purchases, VMFA services catalog. Dates- 7/66 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Director of Gallery of Modern Art, NYC, and his service as a juror. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Time\" article on George Catlin, artist of the American West. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Mellon. Subject- Ultimate destination of Mellon English Collection. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Tour request. Dates- 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Mrs. J. H. Parsons. Subject- Wheelchairs adapted for sit-see chairs and underwritten by Mrs. Parsons. Dates- 10/65 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture/recital to VMFA council and Fellows. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitation to L. Cheek by President Johnson to attend luncheon for President-elect Barrentos of Bolivia. Dates- 7/20/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Objects on loan to White House. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Theo B. White. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Diorama's made by Whitelaw in the collection of the L.A. County Museum and George Washington Masonic National Memorial Association. Photographs Dates- 7/62 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- general correspondence with a Trustee on Museum programs and operating activities (esp. Accessions Committee). Dates- 6/35-3/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Beatrice von Keller, T. Colt and L. Cheek. Subject- Organization of an exhibition of pre-Columbian sculpture, Catesby-Jones collection, Whitman Collection of Mayan Sculpture, Chrysler Collection accessions and exhibitions. Date- 8/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. Thelma Cudlipp Whitman. Subject- Trustee/Museum business, etc. Dates- 5/51-2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Ambassador to Great Britain, invitation to become Collector-of-the- Year. Dates- 5/61 - 7/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and various Whitney Museum staff. Subject- loans to the Museum for the inaugural exhibition, loan to the Whitney from VMFA, museum practices, etc. Dates- 5/35-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Summer state service projects, VMFA projects list. Dates- 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Playwright, invitation to address VMT, Time Cover 11/12/53. Dates- 1/53 - 3/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA appointment to Board of Trustees, service as President and on the Entertainment Committee. Museum business, South Wing, Fellows, NEFTA. Gift of Mellon French painting collection, gifts, contributions. Dates- 6/65 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions: \"Jean Outland Chrysler Collection\" and \"30 Years of Virginia Art\". List of objects, Charter Day ceremonies: invitation list and dedication of the new Fine Arts building. Essays- \"Thomas Jefferson and the Fine Arts\" and \"The Arts in Virginia\", by L. Cheek 2/67. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT and loans of objects to VMFA. Dates- 1/50 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. J.G. Pollard. Subject- Williams Collection inventory, Williams purchase fund, statement concerning the informal agreement between L. Cheek and Mrs. A. D. Williams concerning installation of collection in the new wing. Selected inventory of furnishings in the Williams home. A.D. Williams as recipient of the Rhoads Medal, financial contributions, gifts and loans. Dates- 6/48 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Berkley Williams Jr., Virginia artist. Dates- 1936-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., and Mr. E. Rand Williams. Subject- Trustee/Museum business, Rand served as Buildings and Grounds Committee Chairman 1937-8 and as first Vice-President in 1941, etc. Dates- 6/35-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. E. Randolph Williams. Subject- Trustee/ Museum business, etc. Dates- 5/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Glasglow bequest, Melchers Estate, Pratt Jewels, Portrait of \"James Patton Preston\", Gilbert Stuart, general legal questions. Dates- 10/58 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Election to board of Trustees; Dance Society. Dates- 6/54 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Advisory committee on the new Reception Center, L. Cheek as a member and a map with the proposed location. \"Summary of Reception Center Objectives and Experience\". Dates- 11/53-1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List of objects accepted as loans and pending gift status. Dates- 10/49 - 3/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Preliminary plans for a foundation to house objects related to W. Wilson's life. Portrait exhibition of the 8 Virginia born Presidents, portrait of Mrs. Wilson, artist unknown. \"Woodrow Wilson's Heritage of Faith\", Frank Bell Lewis, Woodrow Wilson Birthplace Foundation, 1956. Dates- 9/55 - 6/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of request and approval for event, agendas and timetable. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letter of confirmation. Dates- 7/11 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Woodlawn Plantation event, guest list and map. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. to Worcester Art Museum staff. Subject- loans for VMFA inaugural exhibition, loan to Worcester Art Museum, etc. Dates-8/35-7/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- exhibition held at the Museum \"Southern States Preview\" a regional exhibition connected to the World's Fair. Dates-10/38-12/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by applicants to exhibition. Subject- listings of artists accepted to the show (listed state by state). Dates- 12/38-1/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Arthur Drexler (MOMA) to lecture on Wright exhibition, reception, guest list. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Transcript of radio broadcast 2/26/54, exhibition: \"American Painting\", Artmobile and magazine excerpt. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Betsy Wyeth and Harry Brooks (Knoedlers). Subject- \"Country\": Working drawings, Artmobile layout and tour and reviews. Dates- 2/67 - 11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Exhibitions, loans, acquisitions, AIV, gifts, contributions. Correspondence with William Zorach, sculptor. Dates- 9/49 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- museum practices, loans for the VMFA inaugural exhibition, etc. Dates-9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General correspondence from Alumni, possible lecturers, newspaper clippings. Correspondence between Cheek and Alfred Stiegletz. Minutes of Alumni and Friends of the School of Art and Architecture, 5/58, pamphlets. Dates- 6/58 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Third Report Of The Committee On Architecture, Painting and Sculpture\", 4/50. Committee membership roster, issues facing various Yale departments. \"Bulletin Of Yale University\", series 44, 4/48 #5 and \"Official Register Of Harvard University\", vol. XLV, no.15 7/15/48. Dates- 1949 - 50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. Pollard and M. Christison. Subject- Yale school of the arts general operation, appointment of Joseph Albers, list of University Council Committees. Dates- 9/48 - 9/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Draft of the committee report and responses from other Yale committee members regarding departmental personnel, curriculum, problems and resolutions. \"Report Of The Committee Of The Division Of The Arts (Architecture and Planning And Design)\",prepared by L. Cheek, 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Report Of The Chairman Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 4/48, prepared by L. Cheek. Issues concerning Yale departments of the arts. Minutes of Yale Executive Committee Meetings, various reports on Yale departments. Dates- 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cheek draft of, \"Report Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 1952. Yale policy review, new appointments, letters to other committee members, roster of membership. Dates- 5/51 - 4/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Evolving challenges of the various Yale departments. \"Report Of The Committee On The Division Of The Arts (Architecture, Planning and Design)\", 4/53. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA performance of Yale Glee Club, agenda, program, roster, etc. Dates- 10/60 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","R. Peter Mooz was Director of the museum from 1976-1981.","Charles L. Reed was Interim Director of the museum from 1981-1984.","Paul N. Perrot was Director of the museum from 1984-1991.","Katherine R. Lee was Director of the museum from 1991-2000.","Richard B. Woodward was Interim Director of the museum in 2000.","Michael Brand was Director of the museum from 2000-2005.","Thomas N. Allen was Interim Director of the museum in 2006.","This series contains correspondence and subject files from staff members in the Director's Office.","Carolyn Weekley was the Assistant to the Director from 1978-1979. She later became Curator of Decorative Arts, so there is some overlap in the files with her curatorial work.","Margaret (Peggy) Burke was Assistant to the Director from 1980-1981, then Deputy Director in 1982, Deputy Director. She originally served as Assistant Director for Collections and Interpretation, so there is some overlap in the files with her other work.","Lulan Yu was Assistant to the Director from 2002-2007. Her files are mostly related to the North Wing expansion and the museum identity project.","Lee Anne Hurt Chesterfield was Assistant to the Director from 2004-2009, then became Director of Board Relations and Museum Planning. Her files are mostly related to special projects, exhibitions, and AAM reaccreditation.","This series consists of building files that were maintained separately in the Director's Office. There are often additional building files found in each Director's Correspondence files.","The West Wing was completed in 1985.","The North Wing expansion was completed in 2010.","This series consists of corespondence with internal and external groups, the affiliations or creations of which often often overlap different Directors.","This series consists of minutes and planning documents for meetings convened by the Director.","This series consists of program files that were maintained separately in the Director's Office. There are often additional program and exhibition files found in each Director's Correspondence files.","Medal awarded to Walter Spencer Robertson housed separately.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","Virginia Museum of Fine Arts Archives","English \n.    "],"unitid_tesim":["RG-01","/repositories/2/resources/44"],"normalized_title_ssm":["Director's Correspondence (RG-01)"],"collection_title_tesim":["Director's Correspondence (RG-01)"],"collection_ssim":["Director's Correspondence (RG-01)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["248.5 Linear Feet 204 boxes; 7,156 folders"],"extent_tesim":["248.5 Linear Feet 204 boxes; 7,156 folders"],"date_range_isim":[1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance. \u003c/p\u003e\n","\u003cp\u003eAs custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809).\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least three business days in advance. ","As custodians of public records, VMFA only restricts access to public records when sensitive information is present. Such restrictions are applied in accordance with the Virginia Freedom of Information Act (Code of Virginia, § 2.2-3700 thru § 2.2-3714) and the Government Data Collection and Dissemination Practices Act (Code of Virginia, § 2.2-3800 thru § 2.2-3809)."],"altformavail_html_tesm":["\u003cp\u003e\"Museum in Action\" was reformatted and is available on YouTube: \u003ca href=\"https://www.youtube.com/watch?v=03tQlnoFx0A\u0026amp;t=1s\"\u003ehttps://www.youtube.com/watch?v=03tQlnoFx0A\u0026amp;t=1s\u003c/a\u003e\u003c/p\u003e"],"altformavail_heading_ssm":["Existence and Location of Copies"],"altformavail_tesim":["\"Museum in Action\" was reformatted and is available on YouTube:  https://www.youtube.com/watch?v=03tQlnoFx0A\u0026t=1s"],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series, and items are generally arranged alphabetically within series 1-2. Series 3-6 are generally arranged chronologically.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eDirector's Correspondence, 1927-2006\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eDirector's Office Staff, 1977-2008\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eBuilding Files, 1979-2004\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eOrganization Files, 1991-2006\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMeeting Files, 1998-2009\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eProgram Files, 1992-2007\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series, and items are generally arranged alphabetically within series 1-2. Series 3-6 are generally arranged chronologically.","Series 1 Director's Correspondence, 1927-2006 Series 2 Director's Office Staff, 1977-2008 Series 3 Building Files, 1979-2004 Series 4 Organization Files, 1991-2006 Series 5 Meeting Files, 1998-2009 Series 6 Program Files, 1992-2007"],"custodhist_html_tesm":["\u003cp\u003eThe collection was transferred from the Director's Office through periodic deposits since 1989. The bulk of the Early Director's Correspondence (Series 1.1) was deposited at to the Library of Virginia in 1982, where it remained until November 2022 when it was returned to VMFA.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was transferred from the Director's Office through periodic deposits since 1989. The bulk of the Early Director's Correspondence (Series 1.1) was deposited at to the Library of Virginia in 1982, where it remained until November 2022 when it was returned to VMFA."],"originalsloc_html_tesm":["\u003cp\u003eBetween June 17-September 10, 2023, the Fellowship Application and associated photograph of Wigfall were placed in the exhibition \"Benjamin Wigfall \u0026amp; Communications Village.\"\u003c/p\u003e","\u003cp\u003eBetween June 17-September 10, 2023, the recommendation letter from Leo Katz was placed in the exhibition \"Benjamin Wigfall \u0026amp; Communications Village.\"\u003c/p\u003e"],"originalsloc_heading_ssm":["Existence and Location of Originals","Existence and Location of Originals"],"originalsloc_tesim":["Between June 17-September 10, 2023, the Fellowship Application and associated photograph of Wigfall were placed in the exhibition \"Benjamin Wigfall \u0026 Communications Village.\"","Between June 17-September 10, 2023, the recommendation letter from Leo Katz was placed in the exhibition \"Benjamin Wigfall \u0026 Communications Village.\""],"prefercite_html_tesm":["\u003cp\u003eDirector's Correspondence (RG-01). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Director's Correspondence (RG-01). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e","\u003cp\u003eSeries 1.1 was processed by State Records Archivist Laura Drake Davis from 2006-2008 while it was still deposited at the Library of Virginia. In 2023, Senior Archivist Courtney Tkacz integrated VMFA's holdings into that series and in the process, RG-01 Boxes 1-4 and LVA 33863 Boxes 60, 67, 74, and 89 were removed.  \u003c/p\u003e","\u003cp\u003eSelect application materials were digitized with the identifier: RG01.01.1.33863.001\u003c/p\u003e","\u003cp\u003eSelect application materials were digitized with the identifier: RG01.01.1.33863.007\u003c/p\u003e","\u003cp\u003eSelect application materials were digitized with the identifier: RG01.01.1.33863.008\u003c/p\u003e","\u003cp\u003eSelect application materials were digitized with the identifier: RG01.01.1.33863.009\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information","Processing Information","Processing Information","Processing Information","Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","Series 1.1 was processed by State Records Archivist Laura Drake Davis from 2006-2008 while it was still deposited at the Library of Virginia. In 2023, Senior Archivist Courtney Tkacz integrated VMFA's holdings into that series and in the process, RG-01 Boxes 1-4 and LVA 33863 Boxes 60, 67, 74, and 89 were removed.  ","Select application materials were digitized with the identifier: RG01.01.1.33863.001","Select application materials were digitized with the identifier: RG01.01.1.33863.007","Select application materials were digitized with the identifier: RG01.01.1.33863.008","Select application materials were digitized with the identifier: RG01.01.1.33863.009"],"scopecontent_html_tesm":["\u003cp\u003eThis series is comprised of correspondence of all of the various Directors of the museum. Files were arranged alphabetically by subject, and there is a lot of overlap between different Director's as the files often contained pertinent items from a predecessor. In the case of the first sub-series (1.1), until 1976, the entire museum's files were maintained centrally as one unit in the Director's Office.\u003c/p\u003e","\u003cp\u003eThis series includes the records of the first three Directors - Thomas C. Colt (1935-1948), Leslie Cheek, Jr. (1948-1968), and James M. Brown (1969-1976) - as well as the two Interim Co-Directors Beatrice von Keller and Violet McDougall Pollard (1942-1945). The bulk of this series was deposited at the Library of Virginia, therefore most of the items held at VMFA are copies that LVA returned to the museum.\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with individuals, institutions and corporations beginning with the letter 'A', note- two letters written to Josef Albers (no replies). Dates- 2/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding a copy of Gainsborough's \"Blue Boy\" in the collection of Van Clief of Esmont, Virginia.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters from private donors and dealers offering objects for sale and as gifts to the Museum when it was first started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence, minutes and information about gifts and purchases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information about items being considered for purchase and members of the committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence, minutes, and information on bequests and purchases. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- minutes of accessions committee meeting 1972, announcements and attendance for meetings 1973, acquisitions policy for bidding on works of art at auction, etc. Dates- 9/72-1/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- painted decorations of St. James church, putting this church on the Virginia section of the National Register. Dates- 4/68-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- departmental inventories of non-expandable assets of the Commonwealth of VA 1940-3, worksheets on individual art objects and Museum equipment, state regulations, etc. Dates- 6/43-11/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown and P. Near (Curator). Subject- correspondence about possible acquisitions, considerations of gifts, notes on possible acquisitions, etc., 10/70-4/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding the gift of Mrs. Charles Adams (Ann Fowlkes) of music albums 1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek's appointment by the Governor to an advisory committee assisting the Dept. of Conservation and Economic Development in a study for a proposed museum of science, archaeology and natural history (to be located in Richmond), copy of Senate joint resolution no.26-to study the encouragement or establishment of a museum of science and natural history, list of committee members, Report of the Department of Conservation and Economic Development to the Governor and the General Assembly of Virginia Relative to the Establishment of a Museum of Science, Archaeology and Natural History in Richmond, 1965, etc. Dates- 5/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Excerpt from the Report of the Committee on Recreation to the Advisory Council on the VA Economy and A Summary of Major Recommendations that Involve Questions of State Policy by the Advisory Council on the VA Economy. Dates- 8/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- possible Museum acquisitions from the dealer. Dates- 4/53-5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Airfiltering System 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- correspondence and announcement for lecture by Ambassador Akar about Africa's unique cultural heritage, etc. Dates- 10/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cheek was a judge for their annual show. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence with Albemarle Art Association President about discontinued affiliation with VMFA, biographical information on Cheek, introduction about Cheek for lecture at AAA, Cheek's remarks in honor of Horace Burr 1966, etc. Dates- 8/57-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with and biographical information about Josef Albers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- a letter to Albers (no reply). Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown Subject- correspondence with Director about appointment to board of Hon. George S. Aldhizer II, Education in the Arts and Honors and Awards Committee appointments, etc. Dates- 6/67-2/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Donor of several paintings to the Museum, 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek as speaker for \"The Alexandria Forum: Southern Decorative Arts 1750-1850\", exhibition loans to Alexandria Assoc., etc. Dates- 9/55-1/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Printed materials. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence regarding annual meetings and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- AAM (American Association of Museums)annual meeting pamphlets 1955,'57,'58,'59'60,'61,'62,'65 and'68, proposed constitution and By-Laws 1961, roster of member institutions 1959, correspondence about AAM meeting in Williamsburg, etc. Dates- 10/60-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from AAM Directors. Subject- Minutes annual meeting 1969, membership reports 1969-70, Financial Statements 1969-70, agenda for AAM council meeting 1970, memos, etc. Dates- 8/69-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- info about AAM (American Association of Museums) seminar held in Richmond 1972, financial and membership reports 1972, minutes of exec. committee meeting 1972, news releases, letter from Richard Nixon to Mr. Brown as President of the AAM, mailings sent out by AAM, etc. Dates- 7/72-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about Cheek as Program Chairman for AAM (American Association of Museums) annual meeting in Williamsburg 1962, tentative agenda, schedule of events, attendance list, committee reports, program, etc. Dates- 5/59-1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- correspondence to American Art Association (AAM) section chairmen about annual meeting, program, schedule of events, etc. Dates- 9/60-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about arranging program for American Association of Museums (AAM) meeting, roster of section chairmen 1962, agenda for exec. committee meeting 1961, invitations sent to VMFA trustees for a reception (held at VMFA) to meet the delegates to AAM meeting, etc. Dates- 7/59-6/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- roster of AAM (American Association of Museums) section chairmen 1962, attendance and schedule for section meetings, etc. Dates- 1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lloyd Goodrich Lecturer. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek on advisory committee for the study of design and craftsmanship in today's products, roster of advisory committee, proposed exhibition, conference series, documentary and publication about design and craftsmanship, National Exhibition Project Committee meeting minutes 1950, etc. Dates- 3/49-4/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cheek on Board of organization. Contains memos, pamphlets, exhibition literature etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns L. Cheek's membership in the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- minutes of exec. committee meetings 1961, '62 and '65, roster of trustees, memos to trustees, correspondence about convention in Chicago, etc. Dates- 1/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. (trustee of AFA). Subject- information about circulating exhibitions, minutes of Exec. committee meetings 1966 and '67, minutes of trustee meetings 1966, '67 and '68, memos to trustees, etc. Dates- 1/60-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- American Federation of Arts (AFA) exec. committee meeting minutes 1967 and '68, correspondence about AFA delegates visit to VMFA 1969, roster of members and committee appointments, news releases 1968, President's annual report to AFA, etc. Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about Cheek as Convention Committee Chairman 1959, correspondence about potential committee members, program for convention, minutes of preliminary joint meeting of the AFA trustees 1958, minutes of trustees meeting 1959, Golden Anniversary Convention, The American Federation of Arts 1909-1959, congratulatory and appreciation letters to Cheek, etc. Dates- 3/58-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown Subject- AFA (American Federation of Arts) exec. committee meeting minutes 1959,'60,'61,'62 and'65, roster of board of trustees, trustee meeting minutes 1961 and '62, AFA constitution, National Council on the Arts and Government Annual Report 1960, etc. Dates- 3/61-1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence with the American Institute of Architects. Dates- 4/47-1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cheek served as a juror for the Annual Homefurnishings Design Competition and was an honorary member, 1949-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- A.I.D. (American Institute of Designers) VA chapter yearbook 1961-2, listing of suggested museums for A.I.D. exhibition, etc. Dates-5/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to J.M. Brown. Subject- dinner meeting for the AID (American Institute of Designers) (interior designers). Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Peter Mooz and Wm. Wilkinson (Mariners Museum). Subject- Loan requests, cost estimates, pamphlets and photographs. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Peter Mooz and Wm. Wilkinson\u0026gt; Subject- First major survey of American Marine Painting in observance of the Bicentennial. Lists of paintings, installation, budget, etc. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains copies of lecture invitation and catalog. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to J.M. Brown from ASA (American Society of Appraisers). Subject- Brown's membership in ASA, ASA news 1971-2, announcement of meeting 1971, etc. Dates- 10/70-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- arrangements for gallery dinner at VMFA for American Society of Appraisers. Dates- 1/72-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- Brown as Chairman of a committee on collections at Amherst College and member of Exec. Committee of the Association of Fine Arts, constitution and minutes of Association of Fine Arts meetings 1970 and '71, roster of members of the Association of Fine Arts, membership solicitation letter, catalogue: The Amherst Sesquicentennial Exhibition 1972, etc. Dates- 10/69-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mrs. J.G. Pollard and Mr. Henry W. Anderson. Subject- meetings of the Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, a portrait of Anderson by VA artist, Julian Binford, etc. Dates- 6/35-11/44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Henry W. Anderson. Subject- Anderson's presidency of the Board of Trustees 1947, trustee and Museum business, Annual Board meeting minutes 1947-8, Museum events and daily operations, Museum investments and gifts to the Museum, a general study of the Museum's collections and suggested plan of development (1947), information about the land occupied by the Museum and its estimated future needs, etc. Dates- 6/47-6/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- President of the Board of Trustees. 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and L. Cheek, Jr. and Col. Henry W. Anderson. Subject- Anderson's presidency of the VMFA Board of Trustees, Museum events and daily operations, gifts to the Museum, investment of the Museum's A.D. Williams fund, listing of financial condition of endowment and special funds 1952-3, etc. Dates- 5/51-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- arrangements for dinner honoring Mr.and Mrs. Walter P. Chrysler, guest lists, invitations, R.S.V.P.'s, etc. Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- final copies: VMFA 2nd Annual Report of the Director 7/1/36-6/15/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA 7th Annual Report of the Director 7/1/41-5/1/42 and VMFA staff orders 1/42 elaborating the orders of 6/41 conduct of the Museum during an emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers, preliminary and final copies of The Report of the Acting Directors for the Year 1944-5, agenda for Executive committee meeting 6/44, breakdown of membership 1943-4, 1944-5 and working papers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- final copy VMFA Annual Report. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- preliminary and final copies VMFA Annual Report 1946-7 7/1/47-4/30/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- preliminary and final copy: VMFA Annual Report 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for the 1948-9 Annual Report, Report of the Executive Committee of the VMFA to the Board of Trustees (5/22/49) also a listing and attendance record of the Board of Trustees (5/27/49).  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for the 14th Annual Report, including operations budget, salaries and membership count, also a copy of VMFA Organic Laws (10/36). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- The 14th Annual Report of the Director (5/27/49) and its working papers, also correspondence about VMFA role in selecting and displaying portraits in the Governor's Mansion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- working papers for the annual report, listing of Cheek's activities (lectures, consultations, committee and jury duties). Dates- 1960-1. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Annual Reports for Collections and Gallery Divisions 1951-54, and for State Extension Services 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA 1st Annual Financial Report of the Curator (4/13/35-6/15/36), VMFA 2nd Annual Report of the Director (7/1/36-6/15/37), VMFA 3rd Annual Report of the Director (7/1/37-6/1/38), VMFA 4th Annual Report of the Director (7/1/38-6/1/39), VMFA 5th Annual Report of the Director (7/1/39-5/1/40), VMFA 6th Annual Report of the Director (7/1/40-5/1/41). Dates- 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA 7th Annual Report of the Director (7/1/41-5/1/42), VMFA 8th Annual Report by the Acting Directors (7/1/42-5/31/43), also, VMFA 9th Annual Report by the Acting Directors (7/1/43-5/31/44).  Dates- 1941-1944. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- the following reports: \"Remarks by Robert Marsh, Jr. before the Appropriations Committee of the General Assembly\" and \"Resume of the Request of the Trustees of the Virginia Museum of Fine Arts before the Appropriations Committee 2/64\" Dates- 2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Annual meeting of its Richmond Chapter at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., Mrs. J.G. Pollard and Ms. B. von Keller. Subject- biographical info, purchase of his painting Maggie, letters of introduction, personal references, loaning work to Museum, Va. artists exhibitions, counsel on museum operations, etc. Dates- 10/35-10/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposed paperback guide to architecture in Virginia, roster of Editorial Advisory Board for guidebook, list of sites by counties and cities, etc., final list of buildings and sites, announcements and minutes of Nominating Committee meeting, etc. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- biographical information on H. Harvard Arnason, speaker on Henry Moore sculpture at VMFA, VMFA Members' Bulletin vol.26, no.2 10/65. Dates- 9/65-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- confirmation of meeting with State Art Commission to present plans to enlarge VMFA. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- membership roster, pamphlet of Art Dealers of America, Inc., etc. Dates- 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lectures given at the VMFA by members of the staff of the Museum of Modern Art 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about museum practices, the following publication: Let's Make the Lions Roar: A Marketing Study of the Art Institute of Chicago by Edward J. Teply (Northwestern University 1959) Dates- 6/48-1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Potential jurors for biennial exhibitions 1970. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence and a listing of members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence and art nouveau purchase plan. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Artificial flowers for decoration in galleries, 1964. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Museum program where artist-members participated in a life drawing class.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program sponsored by museum for artist members, included life drawing classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and memorandums. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence and minutes from meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Project to try and send artmobiles overseas as suggested by the State Department. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence as to whether or not they would like to have the artmobile visit their school. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains plans, blueprints, and correspondence that occurred during its development.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Manufacturer of custom van bodies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Presidential Inauguration. Artmobile was State of Virginia's entry in President Johnson's inaugural parade, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposed exhibition for the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Magic City Bank had an exhibit trailer, which was a prototype for artmobile.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitations, programs and correspondence.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Reprints of A.I.V. article \"Galleries on Wheels\", 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VFWC was instrumental in getting the artmobile started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, newspaper and magazine clippings and schedule 1961-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Schedules, Plans, correspondence and photographs, 1960-63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Drawings and plans for 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Opening, Middleburg, Virginia, 1962.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Dinner and Invitation List. Artmobile II Opening. Middleburg, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Facts sheets, invitations and photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Dedication. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- correspondence re. funding, construction, photographs, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Plans for Collegiate Artmobile to visit Virginia Colleges. 1964-65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposal to ask the Carnegie Foundation for funding for a collegiate artmobile, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Opening, Ashland, Virginia. Correspondence and programs, Sept. 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from W.S. Robertson. Subject- Meeting of Virginia college Presidents regarding the Artmobile project to service college and University campuses. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, David Pittman, Peter Mooz. Subject- Artmobile workshop: program agenda, exhibition schedules, etc. \"Artmobile Chairman Handbook\". Dates- 7/74 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Fruehauf Trailer Co., artmobile manufacturer, 1965-66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposed by Lt. Governor Mills Godwin, attempted to establish a Virginia Arts and Crafts Museum. Newspaper clippings, correspondence, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Pamphlets, prints, minutes and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Arts and Humanities Summer Institute. Sponsored by the Va. Commission of Arts and Humanities at the Museum in 1971. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Informational pamphlet from the President's advisory Council on the Arts, 1963. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Art Council of America and Governor's office. Subject- invitation from the Art Council of America to be represented in this council, etc. Dates- 10/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from George Cruger (Editor, AIV), J.M. Brown and Wm. Gaines. Subject- Microfilming of AIV and checklist of Articles to date, Spring 1974. Catalog: \"Image\", George Eastman House, 1973. Dates- 11/73 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Memos and Correspondence. Dates- 1960 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Search for a designer for the magazine. Letters to and from possible candidates. Dates- 1964.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Various issues of the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- A.P. News clips regarding Museum, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns the portrait bust of John Marshall.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- A.P.V.A. Pamphlets and Correspondence, 1972. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- agenda for the APVA (Association for the Preservation of VA. Antiquities) meeting held at VMFA, roster of exec. committee and trustees, etc. Dates- 3/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of members and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and reports from annual meeting 1964-68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- General correspondence to Directors of various museums regarding membership, loans of art works, invitations, etc.  Fact sheet on Artist housing in Soho. Dates- 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence and minutes from annual meeting 1970-71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Annual meeting: reports, minutes, events schedules, officers, membership. Code of Ethics for ilicit traffic in works of art. \"Reproductions and Reproduction Rights For Museum-Owned Objects\", 1962, American Federation of Arts. Dates- 1972, 1979 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes from meeting. Dates- 5/59 - 6/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposals for membership. L. Cheek was membership chairman. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes of meeting. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Report on dangers of lending objects to institutions for special exhibitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Questionnaires, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Dinner held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Lady Nancy Astor. Subject- Donation of her portrait by John Singer Sargent and china. Dates- 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"B\". Subject- varied. Dates- 9/50-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with institutions, individuals or corporations beginning with the letter \"B\" and the VMFA loan-own art service policy statement. Dates- 6/62-10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Transcript of remarks by Frank Stanton on his award of the Michael Friedman Medal of the Architectural league, magazine clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Ballet and L. Cheek concerning the beginning and future of a theatre at the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, A. Ballet and trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Baltimore Museum of Art calendars of events, correspondence about museum practices, etc. Dates- 9/48-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Miss Iris Barry. Subject- giving a film lecture, newspaper clipping, etc. Dates- 8/49-5/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, T.C. Colt, Jr. and L. Cheek, Jr. Subject- general information about Barter Theatre (announcements, VA Highlands Festival schedule, etc.) and correspondence about the Museum sponsoring drama productions as a state extension service. Dates- 12/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Barzansky Galleries. Subject- invitation to a Harriet Fitzgerald exhibition at the Charles Barzansky Galleries, N.Y.C. Dates- 1/58-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Governor Battle. Subject- thank you notes, etc. Dates- 11/50-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- pamphlet of the Museum's 1945-6 season. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Mrs. Bellows. Subject- the proposed acquisition of one of two of Bellows' paintings (Kids, The Teamster) which the museum didn't purchase. Dates-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Fitzgerald Bemiss as a Trustee, correspondence about Board of Trustees and Membership Committee business, gifts to VMFA, etc. Dates- 6/54-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- visit to Florence, Italy and to see Bernhard Berenson. Dates- 1/56-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition: Eugene Berman's sketches for the Metropolitan Opera's Barber of Seville. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- Brown was a chairman of the panel of judges for the Franklin Mint Bicentennial Medal competition in the state of Virginia, official rules and entry form for competition, etc. Dates- 4/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- House Bill no.131 to keep Va. interstates free of billboards, response letters from Va. politicians, etc. Dates- 2/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Mr. Paul Bird as a lecturer on contemporary painting, a transcript of the lecture, etc. Dates- 1/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek and J.M. Brown. Subject- Accessions: Chinese objects. Requests for loan of A. Wyeth paintings from Wyeth Estate, invitation to Clare Boothe Luce to address 17th Annual Va. Public Relations Conference, letter of inquiry regarding the artist Lucille Sinclair Douglas. Accessions: Dubuffet prints, period chairs, pedestals, chest, Aphrodite Torso, female draped figure, Claude Hirst painting, Roger Barr painting. Eric Christmas and Festival Theatre, Ontario, Canada, proposal around building of Bristol Chapter House, furnishing of Agecroft Hall, expansion of University curriculum to include Art Historical Studies in surrounding colleges, Hogarth exhibition, World Museum Fund with description of event and agenda.  Text from \"Country Beautiful, America's Finest Small Museums\", with description of VMFA. Accession and gifts: \"The Little School Girl\", Degas; Amphipolis Gold. Dates- 1959-70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek. Jr. Subject- By-Laws revised and adopted 1951, Organic Laws, announcements, replies, agenda and minutes of annual Board meeting 1950, committee reports, listing of Trustees, etc. Dates- 5/50-5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Col. H.W. Anderson. Subject- annual Board meeting, listing of Trustees 1952-3, announcement of annual meeting, VMFA Annual Report of the Director 1952, etc. Dates- 5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- announcement, replies, agenda and minutes of annual meeting 1953, notice of amendments to the By-Laws, a VMFA report/essay \"The Need for Completing Its Addition\", etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- annual Board meeting minutes 1953, 54, VMFA Annual Report of the Director 1954, notice of amendments to the By-Laws 1954, announcement, replies and agenda for meeting, etc. Dates- 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- minutes of Trustees annual meeting 1955, working papers for the meeting, committee reports, By-Laws revised and adopted 6/54, listing of insurance coverage, Museum events, etc. Dates- 5/55-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mid-year meeting and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- announcement of annual meeting and luncheon for the Trustees, R.S.V.P.'s, attendance list, etc. Dates- 4/56-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Index cards with names and addresses of current and former Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by VMFA staff and Board Presidents. Subject- Board of Trustees committee appointments, appointment letters and reply letters for the following years: '45/6, '46/7, '47/8, '48/9 and '49/50. Dates- 1945-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- letters of appointment to serve on Trustee committees and reply letters, listing of committee appointments 1949-50, etc. Dates- 7/49-7/50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mr. Henry W. Anderson (President of the Board). Subject- appointment to committee letters and reply letters, etc. Dates- 8/51-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence By L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of committee appointments. Dates- 1954-5. Correspondence- Subject- listing of committee appointments. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- listing of Trustees committee appointments (1956-7), reply letters to committee appointments, etc. Dates- 8/56-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- notes on planning, cost estimates, invitations, replies to preview of A.D. Williams collection and dinner honoring Governor and Mrs. Battle, etc. Dates- 10/52-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Museum events, working papers for the annual Board meetings and agendas, nominations to the Board, excerpts from the Board minutes, committee reports, etc. Dates- 2/37-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains miscellaneous correspondence, memos and minutes from meetings. 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Board annual meeting minutes 1955, By-Laws revised and adopted 1954, By-Laws and suggested revisions 1956, listing of Trustees 1955, Committee appointments 1954-57, etc. Dates- 1954-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Roster of the VMFA Board of Trustees. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- announcement, replies for Board meeting, listing of Trustees 1952, 53, notice of meeting cancellation because of inability to secure a quorum, etc. Dates- 1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- announcements, replies, agenda and minutes of Trustees special meeting and Executive Committee meeting, etc., 1/54-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- minutes of the Board of Trustees annual meetings. Dates- 1934-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- suggested plan for developing VMFA collections by Colt (1945), announcements and replies for Board annual meeting , prepared budget 1947-8, listings of Trustees, officers and committees, etc. Dates- 10/45-6/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- sightseeing boat tour on the James River. Dates- 2/57-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mrs. John H. Bocock as a Trustee, Board of Trustees, Entertainment and Accessions Committee business, art lending service information, gifts to VMFA, etc. Dates- 5/51-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek writing introduction for A. Aubrey Bodine's photography book: The Face of Virginia, draft of the foreword/introduction, biographical information on Bodine, etc. Dates- 3/62-1/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- letter to Hon. Armstead L. Boothe about appointment to Board. Dates- 6/64-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Jr. primarily with the Sheraton Hotel. Subject- a cocktail party held on Cheek's Boston trip, guest lists, invitations, etc. Dates- 10/58-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. with various Boston Museum staff. Subject- museum practices, loans, speaking engagements, exchange publications, etc. Dates- 11/47-10/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- loaning objects to VMFA, correspondence about museum practices, lecture given by Cheek in Boston about art in Virginia, etc. Dates- 3/55-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and V.Y. Bowditch. Subject- Bowditch biographical information, drama schedule 1955-6 season, evaluations, theatre operations, etc. Dates- 7/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Theatre director of Pasadena Playhouse 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. with E.G. Bowles and the Public Works Administration (PWA). Subject- landscaping the Museum and bids complying with PWA, construction contract 4/36, classifications of labor/workmen and wage rates 12/34 and Form Of Bond-VA 4/36. Dates-3/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's membership to the VMFA Board of Trustees, Museum events and daily operations, the following Museum publications: Virginia Museum of Fine Arts By-Laws, 1st Annual Financial Report of the Curator (4/13/35-6/15/36) and Virginia Museum of Fine Arts 1st Quarterly Financial Report of the Curator (5/1/36), listing of suggested prospective Trustees, listing of Trustee committee appointments 1937, sketches of Museum floor plan, etc. Dates- 12/34-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, Museum publication: Prospectus of Program Season of 1937-38, radio talk show transcript 3/38, etc. Dates- 6/37-6/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, PWA grant offer 1938 to the Museum, letter from VMFA rejecting the offer of a PWA grant, copy of the resolution that Henry P. Strause, Esq. be named first Honorary Benefactor of the Virginia Museum of Fine Arts, etc. Dates- 7/38-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Trustee committee appointments 1939-40, essays by Branch about WWII, financial situation of the Museum 1939, creation of a \"Ways and Means\" committee, etc. Dates- 8/39-6/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe Branch. Subject- Branch's presidency of the VMFA Board of Trustees, staff organization (1940), plan for VA artist fellowships, \"Art in Virginia\" an article written by Colt, Museum events and daily operations, Museum investments and gifts to the Museum, biographical information on Branch, Trustee committee appointments 1940-1, etc. Dates- 6/40-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, biographical information on Branch, Museum events and daily operations, Museum investments and gifts to the Museum, winner of the first Webster S. Rhoads medal, etc. Dates- 5/41-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Thalhimer Brothers, Inc. Subject- use of VMFA's Medieval Gallery for British Embassy reception. Dates- 6/1/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- brochures for the VA Dance Society, VA Film Society and VA Chamber Music Society. Dates- 1963-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- loaning objects to Brooklyn Museum, correspondence about museum practices, exchange publications, etc. Dates- 2/48-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- essay written by J. Carter Brown for New York University. Dates- 5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- news releases about James M. Brown becoming VMFA Director, newspaper clippings, photos of Brown, Report of the Director 1972-3, etc. Dates- 6/69-11/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by VMFA staff and Trustees. Subject- plans for receiving the new Director. Dates- 6/69-7/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Fred Haseltine (Assistant to Director). Subject- list of objects being offered to the Museum including: antique gold boxes, ornaments, clocks, etc., letters to the executors of the Ailsa Mellon Bruce estate, correspondence with Paul Mellon, news releases and news paper clippings about gift, photos of the galleries, etc. Dates- 8/70-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Mr. David K.E. Bruce as a Trustee, Board of Trustees business, gifts to VMFA, etc. Dates- 5/48-3/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposed acquisition of the Brummer collection of Medieval art, report on collection, list of objects, correspondence to Paul Mellon, etc., later sold to Duke University. Dates- 12/65-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and the Smithsonian Traveling Exhibition Service. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Exhibition 1958, includes layouts and photos, etc. Dates- 3/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek's membership on the Fine Arts Advisory Committee to U.S. Commission for the Brussels Universal and International Exhibition of 1958, committee meeting minutes 1957, committee roster, etc. Dates- 2/57-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Fair 1958, Cheek was an advisory committee member, loan, catalogue and installation lists, information on slide presentation- \"Art in American Museums\", etc. Dates- 3/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- sketches, plans of the U.S. pavilion for the Brussels International Fair 1958, information and listing of objects in the \"American Folk Art\" exhibition, etc. Dates- 1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Harry Bertoia (Sculptor). Subject- the acquisition of a Bertoia piece (Tree) shown at the Brussels Fair. Dates- 8/57-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr. Subject- D. Tennant Bryan as a Trustee, Board of Trustee and Membership Committee business, etc. Dates- 10/47-6/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. D. Tennant Bryan. Subject- Trustee/Museum business, membership to the Museum, etc. Dates- 5/51-9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. J. Stewart Bryan. Subject- Trustee/Museum business, loan of paintings for inaugural exhibition, gift to Museum, etc. Dates- 6/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Thomas P. Bryan as a Trustee, Board of Trustee business, etc. Dates- 9/58-11/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- congratulatory letter to Mr. Thomas P. Bryan on election as Mayor, Date- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. to Buchholz Gallery. Subject- proposed purchases, loans, exchange publications, etc. Dates- 4/47-8/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- VMFA budget exhibit 1959 and 1966-8, resume of the VMFA Trustees before the Appropriations Committee 1964, budget requests 1960-1 and 1962-4, etc. Dates- 9/61-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of Governor's Budget Advisory Board 1965, outline for capital outlay funds dinner, invitation letter to Trustees, etc. Dates- 5/65-6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed 25th anniversary budget, correspondence about obtaining a Budget Committee for the 25th anniversary program, anniversary publications, etc. Dates- 1/60-3/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about Capital Outlay Commission dinner and theatre, etc. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- suggested order of events for Budget Advisory Committee meeting, invitation letters to the Presidents of VMFA affiliate chapters, draft of end of dinner announcement, etc. Dates- 7/61-9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- list of Governor's Budget Advisory Committee 1969, review of Museum's request for capital outlay funds to construct North Wing and theatre, etc. Dates- 4/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- roster of Governor's Budget Advisory Board 1967, outline for Cheek's remarks to Budget Advisory Committee, etc. Dates- 1/67-5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- roster of Governor's Budget Advisory Committee members 1972-4, request for hearing, dinner invitations for Advisory Committee, etc. Dates- 5/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers and news releases about the addition to the Museum. Dates- 6/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to other U.S. art museums. Subject- installation and advice on purchasing an air conditioning system. Dates- 5/53-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Wm. Rhodes. Subject- correspondence about air condition system failure. Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- addition and renovation to the Museum, proposals and preliminary studies by Mr. Merrill Lee, Architect, copy of a Architects and Consulting Architects Contract, etc. Dates- 12/49-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard primarily with Architects M.C. Lee and Eggers and Higgins. Subject- schedule of interior installation, list of architects bills, building inspection, review work/progress, photographs of progress of additions to the Museum 1953, etc. Dates-12/48-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns the proposed addition the VMFA 1949-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Baskervill and Sons (architects and engineers) preliminary drawings, schedule for construction project, etc. Dates- 7/64-12/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Attempt by the United Daughters of the Confederacy to expand their facility on the block. The Museum's and the Virginia Historical Society's attempts to stop them and acquire the land for their own use. Dates- 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about equipment needed to supply music to members' quarters, lobby area and galleries. Dates- 7/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- information about sound equipment. Dates- 6/54-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information on purchasing folding and stackable chairs. Dates- 8/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- extending the rise of freight elevator. Dates- 8/53-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- proposals and layout for a film production unit to be located in the new wing (to make interpretative sound films). Dates- 7/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information, blueprints on changes to and installation of kitchen equipment. Dates- 6/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- the proposed purchase and installation of photographic equipment, correspondence with other art museums about creating and maintaining a darkroom and staff photographer. Dates- 8/53-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- blueprints of check room, information about coat, overshoe and umbrella racks for the Museum check room. Dates- 9/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information about seating for the theatre and auditorium, blueprints of the auditorium. Dates- 8/53-8/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of machinery and equipment needed for the new shop. Dates- 8/17/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about chandelier for front entrance of Museum. Dates- 9/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M.C. Lee, Architect. Subject- alterations and additions to the Museum, color samples and specs for painting and finishing, etc. Dates- 8/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains amounts of pledges and names of donors giving money for new galleries.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Gallery floor plans: VMFA, Brooklyn Museum, Victoria and Albert, British Museum, Art Institute of Chicago, Walters. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Merrill C. Lee, Architect. Subject- progress photographs and negatives (north wing). Dates- 5/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Architects: contractual agreements, VMFA design program, Capital Outlay Appropriation, alteration, additions, cost estimates, expenditures, contracts for Doyle and Russell and Merrill C. Lee (AIA). Dates- 12/48 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- blueprints of a darkroom and information about and catalogs of photographic equipment. Dates- 8/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns securing restricted material such as steel for post-wartime construction. 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to Mrs. J.G. Pollard. Subject- Economic Stabilization Committee (ESA) search for qualified women employees, ESA headquarters to be located in Richmond, federal government regulations that established ceiling prices for all commodities and services (except those specifically exempt) upon the basis of prices in effect between 12/19/50-1/25/51. Dates- 2/51-12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"Final Statement Museum Of Fine Arts Richmond, Virginia\", contract dated June 9th, 1952. Financial statement/contract from Doyle and Russell Construction. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Terra cotta statues at the North entrance to the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Original Building: \"Manual On The Planning And Execution Of State Capital Outlays\", 9/1/44, contracts: Doyle and Russell (Building Contractors) and Merrill C. Lee (AIA). Detail for additions and deletion from original building. Design contracts and inspection reports. Dates- 1952 - 55, 1966, 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Brochures, drawings, correspondence 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- information on red carpet and padding for the front entrance. Dates- 8/51-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Meeting with Interior designers 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding plants around the Waddy fountain. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- the Richmond Junior League's proposed campaign to raise money for construction of South wing for the Museum, working papers for and final copy of the pamphlet: \"The Virginia Museum Needs Wings\", etc. Dates-12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- renovations and construction of a new wing to the Museum, Cheek's comments on preliminary and revised drawings, and construction progress, Architects and Consulting Architects Contract (Merrill C. Lee, Architect, Eggers and Higgins, Consulting Architects), an essay \"The Virginia Museum of Fine Arts Need for Completing Its Addition\", etc. Dates- 1/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information relating to addition to Museum, several reports including: Building Program 1950-1, Addition to Building 1949-50, The Virginia Museum of Fine Arts The Need For Completing its Addition, History of Appropriation for Construction (1948-53) ,also, notes for Sen. Gray about Museum addition (1952). Dates- 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- miscellaneous daily and general building maintenance. Dates- 2/60-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Governors Stanley and Battle. Subject- improvements on Museum building and completion of new wing (1954). Dates- 12/50- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject-construction/installation of American and English galleries, alterations to Medieval hall, blueprints, etc. Dates- 7/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- information on purchase of steel lockers, blueprints, etc. Dates- 4/54-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about ordering office furniture designed by Eero Saarinen. Dates- 8/64-1/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Alfred Geiffert, landscape architect. 1949-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- analysis of situation concerning the parking lot and planting, etc. Dates- 8/66-10/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Budget Estimates for landscaping the grounds of the Museum around addition, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information and bids on purchasing lighting and steel storage equipment. Dates- 11/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- info on purchase of supplies for dining room/cafeteria: placemats, traymats, doilies, napkins, matches. Dates- 1/55-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains plans for the Waddy Fountain, and furnishing brochures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Carl Milles, donor of the Little Triton Fountain 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- marble chips for garden court fountain request for information about installation of mosaics in garden court. Dates- 8/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed purchase of wall coverings for new galleries (movable partitions and door headers). Dates- 2/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- commission to decorate behind refreshment counter in the new building, commission switches from Julien Binford to Richard Q. Yardley. Dates- 6/54-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Richard Q. Yardley Mural in the refreshment room. Also contains information on Julien Binford who was originally retained to do the mural before Yardley. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Public Works Administration Grant for Museum addition, application to National Production Authority (N.P.A.) for assistance in obtaining materials for proposed Museum construction. Dates- 10/35-9/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- staff requests for facilities and equipment, list of private funds for Museum addition, Board resolution about the construction on the building, etc. Dates- 7/48-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- drawings of proposed Museum addition, Special Building Committee procedure in dealing with Appropriations Committee of the House of Delegates, etc. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and New York City Museums: Metropolitan, Guggenheim, MOMA, and Whitney. Subject- Extended loans of paintings and sculpture for the VMFA's new wing of Contemporary Art, scheduled for Jan. 1970. Correspondence from L. Cheek to John Walker to address the Collectors Circle. Dates- 7/69 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- report on budget dinners 6/65, Cheek's itinerary for talks 1965, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and Joseph Whitehead (Interior Designer). Subject- Interiors of the New South Wing, Fabric sample enclosed. Correspondence between L. Cheek and Bernard Bothner of the Brooklyn Museum. Subject- Resources for slides to accompany the reinstallation of the Egyptian Gallery. Dates- 6/66- 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposals for gallery orientation theatre systems. Memo To VMFA staff regarding upcoming Fellows meeting. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to other museum directors. Subject- Request for slides of recent building additions to their respective museums, to prepare for a presentation to the Virginia Legislature. Dates- 4/65 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Survey conducted by L. Cheek to determine the necessity of a sprinkler system in galleries. Letters, cards of response and survey results. Dates- 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains brochures and catalogs 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- photos of preliminary architect's drawings, preliminary cost estimates, etc. Dates- 7/62-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Information concerning the MOMA 30th Anniversary, building funds drive with text of building/expansion plans, \"Toward The New Museum Of Modern Art\" , 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- review of presentations to the Art Commission, photos of other art museum additions, statements about addition (Mr. Wallace K. Harrison and Mr. Frederick D. Nichols), etc. Dates- 9/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Sculpture garden fountain and the renovation of the theatre lobby. Dates- 7/76 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Wm. Higgins. Subject- Membership drive/ New Wing opening, progress reports to members of the Board, financial statements: cost estimates, design fees, operating fund, construction timetables. Fact sheet relating to history of VMFA. Signficant dates for the Virginia Museum, \"History of North Wing Construction\". Dates- 4/71 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, D. Nicholas and C. Chamberlayne (Hardwick). Subject- Progress timetable, architectural engineering/ landscape/ interior design. Revisions/ alterations to construction, cost estimates, instructions to bidding contractors. Review by building committee of the Board of Trustees. Minutes of the building committee, 2/25/72, drawing/plans. Dates- 1971 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, D. Nichols and C. Humelsine. Subject- North Wing plans, justification and description, funding, appeal to legislature to win support for North Wing funding. Rosters: Appropriations committee, finance committee, Governor's budget advisory committee. Essay- \"The Unique, Pioneering Virginia Museum\" and \"Facts on the Virginia Museum of Fine Arts\". Dates- 1967, 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from W.S. Robertson and L. Cheek. Subject- Original design of North Wing per L. Cheek and Baskerville (AIA), later rejected by the Arts Commission. List of significant dates with regard to North and South Wing additions. Minutes of Special building Fund committee, 3/11/65, original building proposal, photographs. Bulletin vol.26, no.2 10/65. Dates- 9/65 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Photographs/Plans/Drawings from Baskerville and Son (AIA) for:entrance hall, basement/sub-basement, site plan elevations/cross section, gallery floor plans and views of entire block.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, D. Nicholas and L. Noland (building committee). Subject- Construction, architectural engineering, capital outlay, construction bids, plans and contract documents. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- blank order forms labeled VMFA NPA Regulation No. 4. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Mrs. J.G. Pollard. Subject- National Production Authority (NPA) regulations, order listings for maintenance, repair and operating (MRO) supplies, regulations about using the DO-97 rating (Form used to obtain MRO supplies), quota for the 4th quarter 1951, etc. Dates- 3/51-7/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence about construction and funding (some PWA) of a wing to the Museum, publication: Working Relationships Between Private Architects and Engineers and the Commonwealth of VA (2/44, Governors' office, Division of the Budget) and The General Conditions of the Contract for the Construction of Buildings (standard form of the American Institute of Architects). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Doyle and Russell, Building and Industrial Construction. Subject- Bronze founders tablets, frames, building inspections and taking over and operating the building 10/35. Dates- 8/35-10/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Peebles and Ferguson, Architects, Norfolk. Subject-blueprints (including detail of the Portuguese Room dated 9/18/35), maintenance and furnishings (benches, plaques, interior painting, etc.) for the Museum. Dates- 4/35- 6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Ferguson, Meakin and Moore, Architects, Norfolk. Subject- reproductions of drawings of proposed south wing, drawings, bids, etc. Dates- 10/37-5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Plans and Correspondence 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- photos of drawings showing the proposed additions and alterations to Museum. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Plans and correspondence regarding the memorial plaques around the building: R.E. Lee Camp, Waddy and the Old Dominion Foundation fountains. 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- construction/installation for the Pratt collection, blueprints, progress reports to Mr. John Lee Pratt, etc. Correspondence with Milton Samuels of French and Company who designed the installation, including quotes for fabric, carpet, cases, carpentry, lighting (including the chandelier). Cheek asked Pratt to fund it and he agreed. Lots of invoices. Dates- 6/54-5/55.   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Baskerville and Sons, Architects, 3/11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about building models, preliminary drawings, furnishing and equipment catalogues, etc. Dates- 4/65-12/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence and statements from Marcellus Wright and Son. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and Merill Lee (architect) and Chairman of the Building and grounds committee, concerning construction of the service area. Dates- 1/59 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Eggers and Higgins, Architects. Sketches and drawings 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr., J.M. Brown and Erwin H. Will (VMFA President of the Board). Subject- all aspects of construction of the South Wing, additions and alterations to Museum, landscaping, fountain, parking lot, etc. Dates- 12/66-3/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- minutes of South Wing construction conferences 1969-72, outline of construction to South Wing, etc. Dates- 1969-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Governors Dinner/Event in celebration of the South Wing: program agenda, menu, dedication plans, News Media reception, Rosters: House of Delegates, Senate, Trustees. Key presented to Governor Linwood Holton donated to the archives by Anne Holton November 3, 2022. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Capital Outlay requests, individual project descriptions, preliminary plans, tabulations of construction bids, estimated income sources, floor plans, budgets, invoices, Executive Committee Minutes and Building Committee Minutes. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Erwin Will. Subject- New duct layout for the South Wing attic space: revisions necessary due to mistakes in original drawings and improper work. Financial statements. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA Charter, Act of March 27, 1934. Design program (2/18/49) Phase II, museum enlargement, boiler replacement, contract cost estimates, committee no.279-A, addendum no.7 to the drawings and alterations to VMFA. Theatre light control system, weekly project inspections. \"General Conditions Of The Contract For Capital Outlay Projects\". Dates- 2/52 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and members of the building committee. Subject- Proposed additions, rejection of north facade by Arts Commission. Excerpts from Minutes of Art Commission Meeting, 6/4/65, 7/9/65, 7/29/66. \"The Virginia Museum Opens The New South Wing\", Press package, Brief History and Signficant Dates of VMFA, photographs. Dates- 1965 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Supplemental Agreement #2: Additions and alteration to various aspects of structural design contracts. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Interior construction and design. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment purchasing list, blueprints of theatre, installation of theatre and projection equipment and an orchestra lift, local building committee meeting minutes, etc. Dates- 7/53-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment: bronze stands and velvet ropes. Dates- 1/55-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Construction blueprints and plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letter of invitation to Trustees, former and current, to celebrate the construction of the North Wing, seating arrangement and timetable for event. Letter to Gov. Holton concerning ground breaking ceremonies and gala dinner. Dates - 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to Col. Anderson. Subject- proposal for theatre for Museum, possible recreation center for armed forces stationed in Richmond. Dates- 2/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Waddy Memorial and Triton Fountains 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- B.F. Ruskin and Associates 1953-55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- committee reports on funding for construction of addition to the Museum, schedule of payments to date (12/4/50 and 12/20/50). Dates- 10/50-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- additions and alterations to VMFA 1955, list of Museum alterations and additions to date 6/15/55 by Merrill C. Lee, Architect, VMFA Noise Survey CA 9687 (1955), blueprints, etc. Dates- 1/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains architectural plans for the first addition to the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- cost estimates/proposed funding for Museum addition, copy of the resolution to establish a Local Building Committee, announcements, replies and minutes of Local Building Committee meetings 1950-2, etc. Dates- 1/46-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Local Building Committee, 1951-54. Information regarding the local contractor. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- minutes and outlines of VMFA Building Committee meetings 1952-3. Dates- 6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, L. Cheek, Jr., and G.D. Gibson (Chairman of the VMFA Building Committee). Subject- addition to Museum building, listing of additions and alterations to the building, agenda and minutes of Building Committee meetings 1953-4, etc. Dates- 9/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- addition to Museum building, minutes, announcement and agenda for VMFA Building Committee meetings 1954-5, list of contributors to Museum Building Fund, etc. Dates- 7/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by G.D. Gibson (Trustee). Subject- installation of Museum equipment, minutes of the Buildings and Grounds Committee meetings 1955-6, etc. Dates- 9/56-12/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains lists of expenditures, list of private donors with amounts donated for the addition to the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA Local Buildings and Grounds Committee meeting minutes 1948-56, listing of committee meeting dates 1948-56. Dates- 1948-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard to Senator Garland Gray. Subject- information about planning costs for addition to Museum building, Museum business and events, etc. Dates- 5/51-7/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Copies of the Museum's members bulletin. Vol.1, No.8, Vol.7, No.'s 1,4and6, Vol.8, No.'s 5and8, Vol.9, No.'s 1,2and4, Vol.10, No.'s 1,2,7and8, Vol.11, No.'s 1,2,3,4,5,6,7and9, Vol.12, No.'s 8and9, Vol.13, No.'s 6and9, Vol.14, No.'s 1,3,6,7,8and9, Vol.15, No.'s 3,4,5,6,7,8and9, Vol.16, No.'s 1,2,3,4,5and6. Dates- 9/46-2/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Bulletins with general information and a survey of sources of income, private and public, from various museums. Dates-1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 1962-1966 Donations, Trustee File. Dates- 7/55 - 12/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and members of Board of Trustees. Subject- Revision of By-laws and Memorial Fund Policy, revisions and recommendations, minutes from sub- committee on By-laws. Dates- 1958 and 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA By-Laws (revised and adopted 5/51, 5/53, 6/54), Notice of Amendments to By-Laws (6/50, 5/53, 6/54), VMFA Organic Laws, etc.. Dates- 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to Senator Byrd. Subject- amendment of IRS code Sec. 863, exempting works of art loaned for exhibition in this country from federal estate taxes. Dates- 7/51-10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., Mrs. J.G. Pollard, and L. Cheek, Jr. to individuals, institutions and companies beginning with the letters Ca-Cn. Subject- varied, including four letters from Alexander Calder about Museum purchase of one of his pieces. Dates- 8/45-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek. Subject- Loans of artwork, Trustees, Fellows, Mary Callery (juror, 1963 Va. Artists Exhibition). Accessions and gifts: Tree, Callery; Han Dynasty pottery; Nanny, T. Sully. Dates- 2/59 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and P. Near to J. Brun and H. Jucker. Subject- Acquisition and provenance of Caligula, Newspaper clippings. Dates- 1971-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, his term as Treasurer of the Fellows. Dates- 1/60-6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mr. John Canaday (from University of VA). Subject- Christmas card design by Canaday, loan of a sculpture show, jobs, etc. Dates- 5/49-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Capital outlay requests for parking area, South Wing, Entrance Improvements, Expenditures and revenues for the year ending 6/1960. \"Instructions for Form c-54-A (individual project report)\" from Commission on State Capital Outlays and Means of Financing. General Endowment Income 1960-61; Capital Outlay for Galleries, landscaping, Egyptian gallery and North Wing, 1935-60. Collections for which there is inadequate exhibition space, list of cultures that are not represented or under-represented, roster of members serving on the \"Commission on State Capital Outlays and Means of Financing. Dates- 1960-61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eIncludes Frances Benjamin Johnston acquisition.\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- officers from the Carnegie Corporation visiting Richmond and the Museum. Dates- 8/55-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to F. Anderson (Carnegie Corporation). Subject- Experimental use of Carnegie Collection of Materials for the Instruction of American Culture and funding of Collegiate Artmobile IV. Proposal, '\" An Artmobile for Virginia Colleges\", March 1965, Supplement, A Statewide Stimulus for Education in the Humanities, Statement of purpose, photocopy of partial grant payment. Dates- 1/58-7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Carnegie Corporation of New York and Carnegie Institute, Department of Fine Arts. Subject- Frances Benjamin Johnston acquisition, requesting a grant, requesting loans for inaugural exhibition, counsel on museum practices. Dates-8/35- 12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Carnegie Trust. Subject- a visit to Richmond by officers of three British Carnegie Foundations, information on Carnegie Trust 1954, etc. Dates- 8/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Secretary of Carnegie Dunfermline Trust. Subject- Roster of Carnegie Delegation visiting VMFA; Annual Report- Carnegie Dunfermline Trustees, 1960. Dates- 7/59-60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- job of Technical Director of the Theatre Division, etc. Dates- 6/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lists of 25th Anniversary donors; VMFA presidents and terms of office 1935-60. Essay- \" The Arts In Virginia\", Walter S. Robertson (Pres. VMFA). Essay- \"Collecting In America\", Alfred Frankfurter (editor and Pres., Art News) Dates- 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of orders for and purchasers of the Healy's Sitters Catalogues, thank you notes for exchange publications, list of relatives of Judge John Barton Payne, etc. Dates- 4/51-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Jaquelin-Ambler Portrait catalogs, listing of the members of the Jaquelin, Ambler and Broadnax families. Dates- 11/48-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- a fellowship set up by the Catherwood Foundation (previous owners of the Dali jewels) to be used for travel/education in Europe, information about transporting Dali jewels from the Museum. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Fellowship for artists provided by the Catherwood Foundation and awarded and administered by the VMFA that year. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. William Gaines and L. Cheek, Jr. and M.B. Christison (Assistant Director). Subject- Gaines biographical information, Catherwood Foundation fellowship recipient, application, recommendations and award letter for fellowship, list and some photos of work submitted, etc. Dates- 3/56-11/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Annual luncheon and tour. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to Century Lighting Co. Subject- lighting for the artmobile and theatre, etc. Dates- 6/53-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- pamphlets from the Convention and Tourist Bureau (Richmond). Dates- 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- pamphlets from the Virginia Chamber of Commerce. Dates- 5/49-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Restoration of Old Botetourt Hotel, Gloucester, Va.; Programming instructions for \"Civilization\" Film Series; proposal and budget for statewide broadcast of Affiliate promotionals. Rosters of Affiliates, Chapters and Confederation Officers; Minutes of \"Executive Committee Meeting\", 10/72; maps, postcards, press release, newspaper clipping, photographs. Dates- 2/67-7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Winter Conference agenda, participants, newspaper clippings. Dates- 12/71-3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposal and budget. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Affiliate/Chapter offices Museum Lecture/Tour; roster of Officers, speaking schedule, events, remarks for each engagement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Prototype for letter to be sent from all VMFA Chapter Presidents to convince Legislature of the need for new building. Dates- 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Dali Jewels. Date- 7/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. primarily to realtors and lawyers. Subject- sale of Cheek's property \"Faraway Farms\", information on sale of Chebry Co. property, etc. Dates- 6/50-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to T.C. Colt, Jr. from L. Cheek (when he was Chairman of the Fine Arts Department at The College of William and Mary and when he was Director at the Baltimore Museum of Fine Arts). Subject- art in Virginia, counsel on museum practices, etc. Dates- 12/36-1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- The retirement of L. Cheek, Trustee dinner honoring the occasion, presentation of \"Thomas Jefferson Public Service Award\", with remarks by Lt. Gov. F.G. Pollard; South Wing construction; invitations and newspaper interview with L. Cheek. Dates- 1/65-3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, W.S. Robertson and Morton Thalhimer. Subject- Letters of moral support, press releases and newspaper clippings announcing the resignation of L. Cheek (decision later recanted). Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding L. Cheek's reconsideration of his resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Resolution from VMFA Council regarding the outstanding contributions of L. Cheek. Includes letters from and too supporters. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Replies to his reconsideration of resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Text from interview of 11/2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- PR, decorations, lecture, etc. Dates- 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Memo to VMFA staff, PR, agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Thank you letter from by a class participant.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence regarding classes at the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Registration information and class lists.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison. Subject- installation of collections and exhibitions, Museum programming, biographical information, etc. Dates- 10/54-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. Christison. Subject- scripts and working papers for children's radio program (\"Treasure Trails\" on WRVA), listing of slides for Season Survey and information on a Life magazine photo exhibition entitled \"Egypt\". Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Vouchers and receipts for travel expenses, 1948-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Christmas cards received by the Museum, a copy of the Museum Christmas card (1956), Information about a Christmas tree in the Members' suite, etc. Dates- 11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Commission of Virginia Artists to design Christmas Cards; rosters: Board of Trustees, A.A.M.D., newspaper clippings, cards, photographs. Dates- 1966-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- ordering Christmas decorations. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Peter Mooz, Sydney and Frances Lewis. Subject- Remarks by J.M. Brown on the dedication of the North Wing and on his resignation. Andrew W. Mellon Foundation, Lewis gift of funds for Art Nouveau purchases, Noland gift of \"Rotating Sphere\", reattribution of the Jewel casket. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Controversy concerning gift of Walter P. Chrysler, newspaper clippings, and Chrysler newsletters, 1973-75. Dates- 1969 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Henry Clay Hofheimer and J.M. Brown. Subject- New wing, correspondence between the Executive Board, the closing of the Chrysler Museum School, operating budget, accessions, list of objects. Minutes of Executive Board, 2/8/72. Transcript of William L. Parkers, et al complaints vs. Walter P. Chrysler Jr. et as Defendants. Dates- 1972 - 33 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Chrysler collection exhibition at the Museum and possible Artmobile tour, listing of pieces in collection, etc. Dates- 9/49-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Loan Exhibition for Church Silver of Colonial Williamsburg, outline for proposed exhibition, budget, letter drafts to Church Wardens, lists of Episcopal Churches owning Church Sliver, Format for catalogue. Dates- 7/68-4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about proposed reproduction in miniature of a Cigar Store figure from the Museum collection. Dates- 7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposed reproduction in miniature of American cigar store figures from the Museum collection. Dates- 5/56-12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek Subject- Civil War Centennial Exhibition, agenda, maps, newsletters, VMT copy of \"Certificate of Award\", conferred on the Virginia Civil War Commission. \"Virginia Joins The Confederacy, Chronology of Events November 1860 through 1861\", Civil War Centennial, 1961-1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek's membership on advisory council of the Civil War Centennial Commission, site development study for proposed Confederate Memorial Park in the Museum area, \"Report of the Preliminary Plans of the Virginia Civil War Commission to the General Assembly\" 12/59, etc. Dates- 5/59- 12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- Programming, Ticket Stubs, newspaper reviews, news releases, photographs. Dates- 7/70 - 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and Joseph Lucas (pres. Civitan Club) [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Resume of Cleveland Museum President, Sherman Emery Lee with photo, Cleveland Plain Dealer Interview \"Sherman Lee's Double Life\". Dates- 12/55-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mrs. Clopton complaint about film tickets. Dates- 2/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- membership in The Poetry Society of Virginia. Dates- 2/53-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr., to individuals, institutions and companies beginning with the letters Co-Cz. Subject- varied. Dates- 8/45-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., L. Cheek and J.M. Brown. Subject- Geri Melchers Memorial; Minutes of Annual Meeting 1962; Minutes of Executive Committee Annual Meeting 1962; restaurant feasibility. Dates- 1957-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- arranging a lecture by Mr. Alexander S. Cochran, Architect in conjunction with the exhibition \"Domestic Architecture of the San Francisco bay Region\", biographical information, etc. Dates- 10/49-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artmobile, gifts. Dates- 6/54 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from the American Association of Museums (AAM). Subject- copies of the Code of Ethics for Museum Workers 1925 AAM report. Dates- 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Remarks on \"The Relation of Trustees and Professional Staff of General Art Museums\", delivered by Charles Nagel 5/17/69,  \"Code of Ethics for Museum Workers\" 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Rhodes Rathskellar, proposals for lunchroom: use by staff, volunteer personnel, policy on break schedule and lunch periods. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from P. Near and Peter Mooz. Subject- Checklist of the status, strength, weaknesses and needs of the VMFA. Damage report, gifts of artworks and accessions, Art Purchase Fund, press releases. Letters to Christo and Robert Rauschenberg. Dates- 1976-77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains photographs, letters, newspaper clippings and information from dealers, prices regarding possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains photographs, prices and other information relating to possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and M.B. Christison (assistant Director for Collections and Education). Subject- listing of possible additions to Museum's collections 1953, information and some photos of objects considered for acquisition, correspondence with art dealers, etc. Dates- 12/51- 11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- listing of possible additions to the Museum's collections, information and some photos about objects considered for Museum acquisition, correspondence with art dealers, etc. Dates- 1/53-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, P. Near, F. Brandt and P. Mooz. Subject- Reorganization of the Collector-of-the-year. 1975- Mrs. Lummont du Pont Copeland Collection on Export Porcelain. 1977- David Lloyd Kruger Collection of Contemporary Art. 1978- Hugo Weisgall Collection, list of objects, copies of scores for the Weisgall Concert catalog. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from P. Near to members. Subject- Collectors circle event with lecture by Caroline Keck. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Cultural exchange, Minutes of Executive Committee of C.A.A., 1/62, 4/62, Minutes of Annual Meeting, 1971; Minutes of C.A.A. Business Meeting, 1/62; revised draft of \"Policies and Purposes\", roster of officers, Directors and committee members; Essay- \"The Visual Arts in Higher Education\". Dates- 1/62 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- List for reception/cocktail party, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. Preston L. Collins (Lt. Governor). Subject- announcements of Trustee meetings, invitations to Museum events, replies, etc. Dates- 5/51-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and L. Cheek, Jr. to staff of Colonial Williamsburg. Subject- museum methods. Dates- 7/46-12/54.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- general correspondence with staff of Colonial Williamsburg, information on Cheek's speaking engagement with Williamsburg Rotary Club, etc. Dates- 2/54-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and the President of Colonial Williamsburg. Subject- loan of display units to Colonial Williamsburg, museum practices, etc. Dates- 3/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., J.M. Brown and Colonial Williamsburg. Subject- correspondence about the Williamsburg Antiques Forum, publications/mailings about Antiques Forum 1964,'66,'67,'73, etc. Dates- 5/66-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- detailed letters about the goings-on at the Museum while Colt was serving in WWII, also letter from Mrs. Alfred DuPont about art education. Dates-8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Mrs. J.G. Pollard and others. Subject- record of Colt's military service, his resignation to serve in WWII. Dates- 11/42-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Columbia Records presented 55 recordings of the New York Philharmonic Orchestra to the VMFA in 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Copies of \"On Fine Arts in Modern Society: A Research Proposal Prepared for the Virginia Museum of Fine Arts by the Columbia University Bureau of Applied Social Research\". Dates- 5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about museum practices with The Columbus Gallery of Fine Arts (Columbus, OH) and Columbus Museum of Arts and Crafts, Inc. (Columbus, GA). Dates- 3/51-8/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to the Board, list of appointments, etc. Dates- 1959-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of committee appointments 1963-4, invitations to Trustee committee appointments, etc. Dates- 8/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to Board and replies, list of appointments, etc. Dates- 1958-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and W.S. Robertson (VMFA President of the Board). Subject- VMFA roster of Trustees 1964-5 and 1965-6, Board committee appointments 1965-6, invitations and responses to Trustee committee appointments, letter about Board term limitations (proposed limitation 2 successive terms of 5 years each), etc. Dates- 6/64-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Cheek correspondence as a member of Committee for International Cultural Exchange (CICE), etc. Dates- 6/61-2/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- suggested projects for Public Relations and Development committees, proposal for the Museum by the P.R. counseling firm Earl Newsom and Co., etc.. Dates- 3/54-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from State Department of Purchases and Supply. Subject- information about choosing stationary, samples for new state letterhead. Dates- 9/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"A Report to the Virginia Museum of Fine Arts 11/19/58\" from the viewpoint of its public relations information and communications responsibilities and program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- information and memos about arrangements for community college presidents to meet at the Museum. Dates- 12/70- 1/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- cooperative arrangements between VMFA and Va. community colleges, Virginia Community College System Annual Reports 1969/70 and 1970/71, proposed programs for community colleges, etc. Dates- 10/70-8/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- complaints from Museum visitors about exhibitions, entrance fees, membership rates, guards, etc. Dates- 12/63-7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Museum operations: food service, VMT, membership, discontinuation of dinners in the galleries and newspaper clippings. Dates- 1974 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- guest list for complimentary cocktails in honor of officers and Museum volunteers from the Council, Jr. League and Theatre Affiliates, roster of Jr. League officers 1970-1, etc. Dates- 9/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Erwin H. Will (VMFA President of the Board). Subject- arrangements for a luncheon held in honor of officers and Museum volunteers from the Council, Junior League and Theatre Affiliates, guest list, suggested remarks for Mr. Will at luncheon. Dates- 9/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- miscellaneous Thank you's and compliments about gift and exchange publications, exhibitions, programs, the Museum in general and Cheek's responses. Dates- 2/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence from the public complimenting the museum in some way. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. and W.S. Robertson (President of the Board of Trustees). Subject- Complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 7/60-12/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 1/64-11/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on programs, theatre productions, museum in general and his responses. Dates- 7/66-10/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Various museum operations. Dates- 1972 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- compliments about 25th anniversary exhibitions, events and catalogue: Treasures in America, \"A Tribute to Virginia's Unique Museum\"-a Sunday newspaper supplement, etc. Dates- 1/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for VMFA European catalogue, an exchange publication. Dates- 5/66-9/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for Faberge catalogue: Russian Imperial Jewels, a VMFA exchange publication. Dates- 12/60-2/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- compliments and thank you's for gifts/exchange publications of Russian Imperial Jewels, the catalogue of the Museum's Faberge collection. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for Architecture in Virginia, a VMFA exchange publication. Dates- 2/68-5/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for William Hogarth, A Loan Exhibition of Paintings, Drawings and Prints, a VMFA exchange publication. Dates- 1/67-3/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for Painting in England 1700-1850, Collection of Mr. and Mrs. Paul Mellon, a VMFA exchange publication. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on \"Painting in England\" exhibition (Mellon Collection) and his responses. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Thank you letters for The World of Shakespeare, a VMFA exchange publication. Dates- 1/64-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Form letter from the President to potential members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J. G. Pollard. subject- Letters to Trustees regarding 25th anniversary fund and letters to new members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- performance at Mosque of \"The Confederacy\" as a benefit for the Artmobile, project later abandoned, Date- 11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- drawings of the site of the Confederate Memorial Chapel, landscaping plans, etc. Dates- 7/66-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Richmond Times-Dispatch article \"The Old Soldiers Faded Away Home Here is Vacant\". Dates- 1/16/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- invitation to Director of the Norfolk Museum to Confederation workshop. Dates- 5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- congratulation and reply letters on the installation of Mr. James M. Brown as VMFA Director. Dates- 6/69-6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- listing of objects from the Glasgow bequest and purchase fund currently exhibited in Museum galleries. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and Mrs. Anthony Congreve. Subject- biographical information on Arthur and Margaret Glasgow, correspondence about Glasgow fund for purchasing works of art, listings of purchases made with Glasgow Endowment Fund 1966-72. Dates- 11/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz. Subject- Physical plant restoration project: cleaning of VMFA interior and extensive improvement of motor park, project data summary, Conservation Laboratory: construction and equipment, supply expenditures, budget. Grant application: \"Proposal for Virginia Museum Conservation Laboratory\", employment contract, job descriptions, resumes of prospective applicants. Dates- 1975 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- biographical information arrangements for giving lectures/seminars at the Museum, VMFA Members' Bulletin vol.23, no.9 5/63, etc., Date- 11/50-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- arrangements for securing speakers for the \"Fireside Series\" proposed art talks held in the library, Thank you's to speakers, etc. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- loans of objects between VMFA and Corcoran Gallery of Art, correspondence about museum practices. Dates- 3/51-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Katharine Cornwell. Subject- biographical information on this actress, invitation to come to Richmond to see a show and promote TheatreVirginia. Dates- 5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- pamphlets and post cards from the Corning Glass Center. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information on obtaining assistance from philanthropic organizations and corporations, etc. Dates- 2/55-12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by E.H. Will (VMFA President of the Board). Subject- solicitation letter for corporate patrons, information on corporate patrons program, roster of Richmond corporate patrons 1970, invitations to corporate patrons gala, etc. Dates- 12/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by E.H. Will (VMFA President of the Board). Subject- solicitation of corporate patrons, pamphlets about corporate patrons program, publications for the corporate patrons gala, etc. Dates- 7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- roster of Richmond and of state corporate patrons 1971, planning for \"Fete Aux Galleries\" the corporate patrons event 1972, invitations and guest list for event, etc. Dates- 6/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- Exhibitions, condition reports, insurance, gifts and purchases. Essay- \"Successful Adult Museum Programs\", M. Christison. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and R. Velz.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator) primarily, also L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- varied. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- General correspondence regarding publications, museum practices, exhibitions, pamphlets. Letter from Alexander Calder. Dates- 7/56 - 12/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- Ford Foundation grant-in-aid program, Fogg Conservation Symposium and the Chrysler Collection. Photographs, cesolution recognizing the outstanding contribution of L. Cheek by the VMFA Council. Draft of \"Standards For Museum Practices\", SEMC, 1958. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition of American Silver, jurors for 1965 ADP exhibition, biographical data, 25th Anniversary exhibition and list of objects for loan. VMFA film series, press releases for \"The Little International\" from the Olsen Foundation and the Artmobile. Dates- 1958 -1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and VMFA Council officers. Subject- Council roster 1957-8 and 1958-9, listing of charter members, council-sponsored events and programs, lecture series schedule 1957-8 and 1959-60, statement of purpose of the Council, minutes of general meetings 1962 and'65, Executive Committee meeting minutes 1962 and '63, acknowledgments of gifts to the Museum, etc. Dates- 7/56-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown with the VMFA Council. Subject- Council gifts, Council -sponsored events and programs, preliminary drawings for Council shop office, breakdown of Council Contribution Fund 10/70 and 11/70, etc. Dates- 2/66-4/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- arrangements for corporate patrons ball, roster of Richmond and of state corporate patrons, roster of Council committee for the ball, invitations and guest lists for ball, etc. Dates- 10/70-3/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- outline of the organization of the VMFA Council, Council Program 1955-6, Council of the VMFA Charter Meeting and Articles of Association, \"Friends of the Museum Constitution\", etc. Dates- 5/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- VMFA Council Contribution Fund analysis 1971 and'72, various Council sponsored events and programs, agreement between VMFA and the Council 10/20/70, A Short History of Council Gifts to Museum 1955-71, The Council of the Virginia Museum Directory 1971-2, general correspondence between Council officers and VMFA staff, etc. Dates- 1/71-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Council Trustee Contribution Fund, conservation laboratory, library, state services, fellowships and internships. Profit and loss statements, general ledger trail balance, Art Purchase Fund, staff expenses, VMT financial statements, matching funds for NEA Grant. New Council Shop, furnishings, installation, etc. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposal to establish fellowships for professional craftsmen (resident Craftsman Program), letters from interested craftsmen, etc. Dates- 2/63-2/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator). Subject- proposal of a story about the Museum for Time-Life magazines, reference made about a reproduction of a Watteau from the Museum's collection appearing in Time. Dates- 11/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Monica Hamm and P. Mooz. Subject- Head of publications, editor of AIV and advisor for photography exhibitions. \"Focus On The Arts\", Pat Becker. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- fact sheet about VMFA, House bill no.862 was about establishing a Virginia Commission of the Arts and Humanities, transcript of the VMFA presentation by E.H. Will (VMFA President of the Board) to the Virginia Assembly, Rules Committee asking to kill or amend the bill, etc. Dates- 1/68-2/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- roster of Virginia Cultural Development Study Commission and of the State Arts Committee, information about the creation of the Va. Cultural Development Study Commission by Senate joint resolution no.67, essay- \"The Virginia Museum and the Arts in Virginia\", correspondence about meeting with the Cultural Development Commission, \"Dissenting Opinion Report of the Cultural Development Commission\" by Dr. William H. Higgins, Jr., member of the Commission, etc. Dates- 3/66-1/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"D\". Subject- varied. Dates- 3/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- VMT, exhibition schedules, Byzantine Architectural exhibition, College Drama Festival, loans of art works, Artmobile, Horace Day, NEA proposal, pamphlets, magazine excerpts, cards, biographical data, etc. Accessions and gifts: \"The Meeting of Joachim and Anna Under the Golden Gate\", A. Duer. Dates- 10/58 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Conference for teachers and students of Dance at VMFA, master classes, lecture and performance by Alwin Dance Theatre, agenda, list of dance teachers. Date- 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, AIV. Dates- 1/61 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Virginia Architects, Designers and photographers\", Collectors Circle, Va. Artists Biennial, donations, gifts, memorial fund. Dates- 6/59 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, acting director of the Museum and Governor Darden, regarding the Museum director and the Curator of Decorative Arts, who were both on leave to the armed forces during World War II, 1942-44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with and biographical information about Carson Davenport, Virginia artist. Dates- 1936-1944.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to Ms. Davis. Subject- visits to \"Faraway Farms\" (Cheek's property) Davis was apparently a housekeeper/caretaker of some kind. Dates- 2/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and donors Mrs. Lincoln Davis, and George Cole Scott and Hildreth Dunn Scott, 1937-43.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., E.M. Davis, III (Curator) and L. Cheek, Jr. Subject-restoration of Mrs. Davis' Flemish painting, gifts from Mrs. Davis, information on Museum Board accessions committee (Mrs. Davis member), etc. Dates- 10/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mrs. Lincoln Davis. Subject- Trustee/Museum business, letter of resignation from Board, etc., 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Elizabeth Nottingham Day and Horace Day, patrons and donors, 1934-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Day's exhibition at the VMFA. Dates- 1/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and Mrs. J.G. Pollard to Mr. and Mrs. Horace Day. Subject- Horace Day biographical information, exhibition record, job recommendation, newspaper editorial written by Mr. Day on American Painting, etc. Dates- 1950- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to Mr. Howard Dearstyne. Subject- proposed exhibition of Dearstyne's work and speaking engagement, etc. Dates- 11/50-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Chamber Music Society, Building grounds committee, gifts, donation. Dates- 1954-65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. to the Earl de la Warr. Subject- a visit to Richmond by the Earl, loan of a painting to the Museum exhibition \"England's World of 1607\", etc. Dates- 4/57-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mrs. Marie de Mare. Subject- catalogues of \"Healy's Sitters\" exhibition ( Mrs. de Mare was Healy's grand-daughter), proposed film and biography of Healy by Mrs. de Mare, etc. Dates- 5/49-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His position as Art Director of AIV, music and dance folders. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from D. Nichols (administrator), F. Haseltine (PR). Subject- VMT subscription, Executive Committee Report, Collections Activities, Public Information Report. Dates- 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- information about an exhibition scheduled From Nov.22-Dec.31, 1955 featuring merchandise available for purchase in time for Christmas. Dates- 9/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Traveling exhibition. Dates- 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- International Traveling exhibition. VMFA and Leslie Cheek were the American coordinators from 1951-1954. Lists of attendees at the opening dinner 1/15/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"Design in Scandinavia\" exhibition checklist, description of the exhibition, official record of receipt and list of items received but not included in exhibition, etc. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- RSVP's to dinner held on the opening night of the exhibition \"Design in Scandinavia\". Dates- 12/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr., Mrs. J.G. Pollard and M.B. Christison. Subject- exhibition catalogue information for \"Design in Scandinavia\" and RSVP's for dinner held on the opening night of the exhibition. Dates- 12/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- American Tour 1954-57. Correspondence and publicity regarding. AFA took over the circulation of the exhibition.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Committees in the United States. Lists of members and minutes from meetings 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Favorable reviews of the exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Copy of a New York Times article written by Cheek concerning the upcoming exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Opening of the exhibition at the Museum, January 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- dinner guest lists, menu, planning for opening night dinner for \"Design in Scandinavia\" exhibition, list of Board of Trustee committee appointments 1953-4, registration for Southeastern Museums conference 1953, etc. Dates- 12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- RSVP's for the dinner and other opening events for the exhibition \"Design in Scandinavia\", exhibition catalogue, information used in planning printed material for the exhibition, etc. Dates- 4/53-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject-job description of a designer for the Design and Construction division of the Museum, proposed hiring of a designer, etc. Dates- 2/54-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- floor plan and printed matter for \"Designer-Craftsmen USA\" exhibition, photos of the exhibition, VMFA Member's Bulletin vol.15, no.5 (1/55), etc. Dates-11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and L. Strauss. Subject- 25th Anniversary, draft of appeal to enlarge endowment fund, pamphlet. Dated- 6/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposal for a diorama in connection with \"Orientations of Virginia's Cultural Background\", photographs. Dates- 7/61 - 6/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Resolution by the Executive Committee to authorize excess travel cost by VMFA staff. Dates- 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trip itinerary, pamphlets. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, F. Fowler, D. Nichols, B. Ryan. Subject- All manner of VMFA operation: photography budgets, payroll dispersal, VMT renovation, Artmobile, damage and security of Art works, gallery installation, loans, art purchase invoices, Theatre contract, repairs and modification invoices, grievance procedure, pamphlets, Interpol investigation of Indian sculptures, requests for establishing new positions: Vice Director for Public Affairs and Artmobile curator. \"Partnership Agreement of Artco and Company\", \"Operation Countdown\", analysis of responsibilities and time required for completion of the North Wing. Photographs, pamphlets, announcements. Accessions and gifts: 17th C. Eng. Embroidered Casket, Byzantine Bronze Plaque, Tomato Soup Can (A. Warhol), Bolt of Lightening (R. Lichtenstein), Portrait of a Lady, Payne Collection. Dates- 1/68 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, F. Haseltine, D. Nicholas, J.M. Brown, P. Near, A.W. Stalnaker, B. Ryan, Mrs. Pollard. Subject- All manner of inter-museum operations: Public information schedules, membership campaign, promotion deadlines, travel itineraries, budget proposals, etc. P. Nears observations on possible acquisitions. Dates- 7/64 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letters of request, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Secretary to the museum, biographical data, job description. Museum files and the law regarding public information, records management, records to be retired, list of file classification: deletions and additions. Events schedules, agendas and exhibitions. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown, A. Dohn. Subject- Letter of recognition of donations, list of donors and their gifts of art works. Dates- 1964-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Chenery Estate and Gottwald endowment Fund. Art Nouveau gift of Sydney and Frances Lewis. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- VMT, Fellowship Fund, Museum Classes, Chenery Estate, Art Nouveau Fund, Artmobile and Gottwald Endowment Fund. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Buyers guides, pamphlets, magazine excerpts, specifications, blueprints, lists of chapters and affiliates, photographs. Dates- 9/61 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J.G. Pollard, and L. Cheek. Subject- Gift of Dunsten Memorial, Payment record, gallery proposals, \"The Virginia Museum Needs New Wings\": appeal to membership and Trustees for building funds. Dates- 12/46 - 4/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Mrs. Alfred I. (Jessie Ball) Dupont. Subject- Donations. Contains a letter regarding her feelings in favor of segregation at the museum and in the arts. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jessie Ball duPont's membership on the Executive Board, gifts and donations. Dates- 5/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Jessie Ball duPont. Subject- Membership as a Trustee, Fellow, Chair of 25th Anniversary Fund drive, contributions and gifts, magazine excerpts, biographical information, contributions and gifts, progress report from Anniversary Fund Drive. Dates- 2/59 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and D. Hudson (state coordinator of Arts System). Subject- Salary scales for VMT, NEA grant proposals. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Exhibitions, Artmobile, VMT, Va. Fellowships, search for potential jurors, work schedules invitations, newspapers, postcards, etc. Accessions and gifts: \"Autumn Leaves\", A. Palmer. Dates- 5/46-5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Agenda and letters to K. Fowler of VMT. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Wm. Heartwell and Gov. Holton. Subject- \"Minutes of Economic Resource Task Force Meeting\": 7/23/71, 9/2/71, 10/8/71, 1/13/72, 4/20/72, purpose of task force was to improve communication between various agencies and the governors office. Draft of Executive order: relationship of state agency organizations to Commonwealth planning districts, budget estimates, agendas, Bills held in House Committee for the 1973 General Assembly. Dates- 1971 -72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- C. Guinnan request for a meeting room. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from A. Stalnaker and H. Dohn. Subject- Events for Governors School for Gifted Students: schedule, housing, food service, etc. Dated- 7/73- 8/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between A. Dohn and Mr. Albertia. Subject- Student application, agendas and statement of purpose. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Event to expose students to the function, organization and operation of VMFA, timetable and agendas. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and B. Bothmer (Egyptologist, BMFA). Subject- Invitations, list of Egyptian art objects available for purchase. Dates- 9/54 - 11/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and M. Christison. Subject- Requests for films and slides, Artmobile, loans for Egyptian Gallery, statement/remarks for opening exhibition, newspaper clippings, blueprints. Dates- 2/55 - 12/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Suggested remarks related to \"Installation of a Gallery of Egyptian Art\", loans from other museums, agendas, letters to other curators and directors. Gift of Egyptian Gallery from Mrs. James Parsons. Dates-2/61 - 4/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- early planning stages of the exhibition \"England 1607\", list of pieces in, list of lenders to the exhibition, installation schedule and exhibition description, printed materials, \"Status Report on the Museum's Jamestown Festival Program\", etc. Dates- 6/54-8/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Gallery opening made possible through gifts of china from Lady Nancy Astor, invitations and loan requests. Dates- 4/61 - 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- invitations to these exhibitions: \"Masterpieces of Chinese Art\" and \"Russian Imperial Jewels\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedules 1946, 1946/7, 1949, 1950, Entertainment Committee announcements and replies, committee report 1946, committee roster 1949/50, biographical information on the following Museum guests: Yasuo Kuniyoshi, John W. Taylor, Charles W. Smith, Reginald Marsh and Lamar Dodd, etc. Dates- 1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedule 1946/7, 1950, 1951, 1952, 1953, 1954, Entertainment Committee rosters 1950/1, 1951/2, 1952/3, proposed Friday evening events 1950/1, committee meeting minutes 1952, biographical information about George T. Hamilton, etc. Dates- 1946-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trustee/Museum business, VMFA Entertainment Committee schedule 1954, 1955, 1956, announcements and minutes of Entertainment Committee meetings 1951, 1953, 1954, 1955, 1956, etc. Dates- 1951-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee roster, Entertainment Committee schedule 1955, meeting announcements, biographical information about the artist Donald Oenslager, etc. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trustee/Museum business, announcements and replies for VMFA Entertainment Committee meetings, roster of Entertainment Committee, committee schedule 1955, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mrs. Arthur Kelly Evans. Subject- a bequest to the Museum from Mrs. Evans, etc. Dates- 11/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- proposal for fundraising project for VMFA Council in fall 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- 60the Anniversary of the AFA meeting and symposium in Williamsburg, registration forms. Dates- 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Agenda, timetable and luncheon for behind the scenes tours by the Council. Date-1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Benefit for the Council Service Fund, program, menu. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Museum in Action\": documentary of VMFA galleries and statewide activities, preview agenda, press dinner, invitations. Producer: Richard Rochement Narrator: Alistair Cooke Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Request for VMFA banquet services. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from W.S. Robertson. Subject- Exhibition: \"Treasures from the Norfolk Museum\", Governor's reception, program agenda. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Gallery plan, staff assignments and program. Dates- 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Reinstallation of the permanent galleries. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Members dinner dance event, invitations, guest list. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Glasgow Estate, Jamestown Tablet. Reception for Committee on Law Celebration. Dates- 12/58 - 4/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Members preview and reception: timetable, program, invitations, gallery plan, etc. Jack Larsen: lecture and biographical data. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter of invitation to members of Virginia Chamber Music Society to attend a Theatre-Dinner. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Inauguration of a monthly series of theatre Dinners, guest list, letters of invitation for event and menu. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition: \"Designs for the Theatre\" Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Reception for British group of scholars and collectors and travel itinerary. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- A British organization on American Tour. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Meeting at VMFA for NCEW: an organization to stimulate the conscience and quality of the American Editorial page. VMFA Executive committee minutes, biographical data, program agenda. Dates- 7/58 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letter of request for use of VMFA Gallery for Dinner, agenda, timetable. Dates- 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Tour routes, agenda and schedule of events for reception and letter to new members. Dates- 9/68 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letter of invitation to reception, tour of museum, agenda, timetable, etc. Dates- 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. Breeden (Membership Chair). Subject- Procedure and agenda for members reception and tour schedule, press release, invitations, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from F. Haseltine. Subject- VMT Premiere performance and promotion. Dates- 5/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- exhibition: \"Treasures of the Norfolk Museum\", program/dinner agenda, invitation, etc. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Arthur Houghton. Subject- Preliminary event outline, layout, program agenda, procedure, invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Annual event to honor corporate patrons: entertainment, decorations, invitation list and suggested remarks to be delivered by President, E. Will. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Private advanced performance of \"School For Wives\", biographical data on Peggy Wood. Dates- 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and W. Rhoads. Subject- Agenda and sample of invitation. Dates- 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Gregory Peck. Subject- Grand opening of Virginia Theatre Arts System, events schedule for preview, Letter from Gregory Peck. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Library reception and banquet for college Presidents attending the Drama Festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Dinner and Theatre Party: agenda, invitations. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letters of request and agenda for Theatre Dinner Party. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Wm. Rhodes and E.M. Last (Chair, RLS) Subject- Performance of RLS at VMT, ticket sales and cost estimates. Dates- 1/65 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letter of request for VMFA services. Dates- 4/31/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Robinson House formerly the Scientific Research Organization, VMFA headquarters for LOAS, adult classes and resident craftsperson, Invitation, Historical background, Bulletin vol.24 no.7 4/64 Dates- 8/62 - 3/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Helen Dohn. Subject- Smith College dinner with lecture by Charles Chetham, Director of Smith College Art Museum, agenda, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- The VMFA Council, Theatre Affiliates, President's Dinner. Music, Dance and Film Societies. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- The Hospitality and Information Service for diplomatic residents and families. Dates- 1968. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- three day seminar program of multi-level experience in the Arts For exceptional Virginia Youths, agendas, etc. Dates- 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- VMFA luncheon and tour. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Paintings and drawings by E. Vedder, speaker. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Requests for contributions. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Juror: Hugh Newell Johnson. Reception, guest list and agenda. Exhibition catalog. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Harry Bertoia, Sherman Lee. Subject- General correspondence regarding juror service. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Sherman Lee. Subject- Jury Chair: Sherman Lee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Juror: William Pahlmann. Event program agenda, invitation, guest list, etc. Catalog: \"Virginia Interior Designers 1973\". Dates- 10/72 - 3/73 \"Virginia Interior Designers Reception Fri. 16 Mar.,  1973, 5-7 p.m.\" Subject- Invitation. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, W. Gaines and H. Dohn. Subject- Schedule of events, exhibitions, Bicentennial Celebration. loans, gallery tours, calendar news, Invitation for the \"India In Virginia\" exhibition. Dates- 8/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains minutes, agendas and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas, 1954-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, announcements, agendas and minutes of VMFA Exec. Committee meetings 1955, 1956, etc. Dates- 9/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trustee/Museum business, VMFA Exec. Committee minutes 1956, list of Exec, Committee members 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and William J. Rhodes, Jr. (President). Subject- Trustee/Museum business Exec. Committee meeting agendas 1954, 1955, 1956, Museum finances (pay scale, Director's allowable expenses, approvals for purchases) VMFA Committee appointments 1956-7, etc. Dates- 6/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, L. Cheek, Jr. and Col. Henry W. Anderson (President). Subject- Trustee/Museum business, VMFA Exec. Committee meeting minutes 1950, 1951, 1952, 1953, listing of members of the Exec. Committee 1950, 1951, Exec. Committee resolutions 1950, 1951, 1953, By-Laws revised and adopted 1951, etc. Dates- 1950-3. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- Executive Committee minutes, copies of Exec. Committee minutes 1953, 1954, 1955. Dates- 12/53-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Gari Melchers Memorial Committee, VMFA Exec. Committee minutes 1956, list of Exec. Committee members 1956, etc. Dates- 4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Trustee/Museum business, VA Art Alliance, Williams Fund purchase, VMFA Exec. Committee agenda 1952, 1953, 1954. Dates- 5/51-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, W. Gaines, R. Velz, M. Christison. Subject- Roster of large Richmond firms and number of employees, invitation cover letter, remarks to be delivered after luncheon. Dates- 9/63 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- lists of proposed exhibitions, events schedule for 1955-6 season, roster of members and schedule of the entertainment committee, drama schedule for Virginia Museum Theatre, etc. Dates- 7/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Notable lecturers and AIV contributors, biographical data. Jurors: Charles Eames, Morris Ketchum and Bert Stern. Dates- 1967 – 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Budgets, loan requests. \"Picasso: A Selected View\", \"12 American Painters\", List of Art Works, biographical notes test for the catalog: \"The Flowering of American Folk Art\". Catalog: \"American Painting 1970 including correspondence with Richard Diebenkorn. Dates- 1970-1974. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, P. Near and F. Brandt. Subject- Bernard Martins' \"Portrait of Edward Hopper\", \"Walter Gropius - 1883 - 1969\", \"Jose Puig\", projected budget, attendance records, requests for loans, receptions events schedules, etc. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Engineering projects around the world, assembled to illustrate the aesthetic impact of technology. Cost estimates for exhibition, speakers and invitations. Dates- 7/64 - 1/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Outstanding objects in American Museum collections that are gifts or have been purchased with contributions from patrons. Event arrangements/planning. Requests of loans and press releases. \"A Brief History of the Virginia Museum of Fine Arts\", by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition \"Homage to the Square\", signed letter from Elaine de Kooning. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Opening festivities of the Aldrich Collection of Impressionist and Post-Impressionist paintings and sculpture. Catalogue: \"The Aldrich Collection\", foreword by L. Cheek. Dates- 11/58 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Juror: Bartlett Hayes. VMFA purchases from exhibition. Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Juror: C.V. Donovan. Request for loans from other galleries. Dates- 1962 , 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Al Held. Subject- Juror: Peter Selz. The removal of artwork from the wall of the VMFA for a period of one week in demonstration of racism, war and repression in America. List of paintings to be shipped and installation instructions. Dates- 9/69 - 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Search for a disposable cardboard shelter for use in a traveling sculpture exhibition to the Chapters and Affiliates. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Juried exhibition of Virginia Architects, Designers and Photographers. American Painting exhibition. Dates- 1964, 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, F. Brandt, Sydney and Frances Lewis. Subject- Art Nouveau exhibition: request for loans, lists of objects, opening event agenda, timetable, invitations, etc. Lecturer: Robert Koch. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. H. Bache and P. Near. Subject- Collector-of-the Year: Pre-Columbian gold collection, list of objects, letters to members of Collectors Circle. Dates- 196 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Request for flags from Embassy of the Federal Republic of Germany. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, P. Near and F. Brandt. Subject- Kent Bicentennial Portfolio: \"Spirit of Independence\", prints by 12 Contemporary American Artists. Rockefeller Collection of Picasso Tapestries. Dates- 11/74 - 11/75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Phillip Hofer. Subject- Philip Hofer: biographical data and lecture on Blake. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and P. Near. Subject- Block as Collector-of-the Year (1967): Collection of 19th and 20th century watercolors and drawings, reviews and agendas. Dates- 10/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Museum of Modern Art exhibition \"Art Lending Service Retrospective\", lecture by MOMA Junior Council President Lily Auchincloss, lending services, expenses and pamphlet. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Traveling exhibit on ancient Chinese treasures. Date- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press releases for Virginia's Civil War centennial Exhibition and celebration at the VMFA, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- C. Conger (White House Curator) and his collection of interior furnishings. Heeramaneck Collection. Dates- 1967, 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Blumka Medieval Collection: Preview, program agenda, invitations, etc. Damage report to Gothic Cut Velvet Cloth, Conservators report and insurance claims. Dates- 1/73 - 5/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, P. Near and F. Brandt. Subject- Exhibition of Tapestries from the House of Edgeworth and paintings, prints and drawings. Lecture, list of objects, PR, gallery plan, invitations, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek's service as a juror for \"International Glass\", gallery plan, photographs, list of jurors choice objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition \"Robes from the Forbidden City\": lecture by Alan Priest on Chinese Textiles. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, F. Brandt and P. Near. Subject- Virginia Photographer 1971, juror: Harry Callahan. Mourot Collection of porcelain. Exhibition schedules, lectures, gifts, loans of art objects, roster of Trustees. Catalog: \"Virginia Artists 1971\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Davies exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and H. Gummerus (Finnish Society of Crafts and Design). Subject- Gummerus lecture on Finnish design. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Traveling exhibition of Tutankhamun. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Bernard Von Bothmer (Brooklyn Museum). Subject- Von Bothmer account of his discovery fo the missing portion of VMFA fragment of Sema-Tawy-Tefnakht. Conservation and restoration of scribe, magazine clippings. Slides and photographs. Dates- 12/64 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Mrs. L.J. Dee (Cooper- Hewitt) Subject- Her Lecture to VMFA. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecture by Buckminister Fuller, biographical data, catalog, installation, invitations, etc. Dates- 1/59 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Contemporary Art forms of Israel. Lecturer: Avid Yafeh. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecturer: John Walker. Invitations, entertainment. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Wm. Gaines. Subject- Documentation of the making of George Steven's film. Installation, design, floor plans and cooperating agencies. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Herbert Hoffman, Perry Rathbone and Patricia Davidson. Subject- Bill S.2273: to enable works of art and other materials imported for temporary exhibition in non-profit activities to be immune from judicial process. Description of objects for possible acquisition. Exhibition design, installation, VMFA and BMFA gallery plans, invitations, etc. Dates- 9/63 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, P. Rathbone and H. Hoffman. Subject- Loans of Greek gold from the Hermitage and other institutions. Appeals to the State Department regarding Bill S.2773. Dates- 3/64 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Christine Alexander. Subject- Alexander's service to VMFA consultant on Greek and roman acquisitions. Exhibition lecture by Dorothy Kent Hill. Dates- 12/61 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Western art in Virginia collections, loan requests, film series, invitations, program agenda, etc. Lecturer: Larry Curry. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Perry Rathbone and Nasli Heeramaneck. Subject- Installation and acquisitions from the Heeramaneck collection. Lecturer: John Alexander Pope (Freer Gallery), newspaper clippings. Dates- 12/66 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Paul Mellon and Lessing Roswald. Subject- Request for loans, receiving and storage of objects. Event invitations, agenda, etc. Lecturer: Philip Hofer. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and John Koenig. Subject- Proposals for the filming and documentation of an epic film: research, selection, documentation, etc. Proposals were originally made to Samuel Goldwyn and Cecil B. de Mille. Dates- 7/55 - 2/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and L. Goodrich. Subject- Requests for loans from various collections. Text for catalog forward by L. Cheek, and essay by Lloyd Goodrich. Biographical data and newspaper clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Events schedule, agenda, invitations, pamphlets. Lecturer: Robert Doty. \"Portrait of Edward Hopper\" and drawing studies by Virginia painter, Bernard Martin. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Exhibition of art from Virginia Collections to commemorate the 10th anniversary of AIV. Request for loans, invitations, members preview, agenda, list of objects for exhibition. Lecturer: Thomas E. Norton, biographical data. Dates- 7/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Acquisition of Indian art collection. Dates- 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition of works by French artists commissioned by Claude Aveline to illustrate his poem \"L'Oiseau que n'existe pas\". Lecturer: Lawrence Alloway, biographical data. Members Bulletin vol.24 no.8 4.64. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Anne Marie Pope. Subject- VMFA display areas. Date- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from F. Brandt and P. Near. Subject- Art Nouveau Loan, list of Lewis gifts and purchases. Dates- 1971 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and C.S. Hathway. Subject- Lecture search. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Biographical data, agendas, timetables and invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Islamic rugs circulated by the Smithsonian Institute and lecture by McMullan. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J. Baskett and P. Mellon. Subject- List of paintings from Mellon Collection. Gallery preparation, storage, costs, opening festivities, interpretation of exhibition, letters to print media. Press release, newspaper clippings. Lecturers: W.G. Constable, John Baskett and Basil Taylor. Essay- \"Painting In England, 1700-1850\". Dates- 8/62 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Paul Mellon. Subject- Mellon English Painting Collection, early discussion concerning the scope and preparation of catalog and exhibition. \"Letter from Basil Taylor Dated-23 January 1963 re: Mellon Show\", letter of disgruntlement over the various stages of the Mellon catalog. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Basil Taylor. Subject- Mellon Collection of English painting, initial planning stages, lectures, installation, catalog, etc. Dates- 11/61 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Paul Mellon. Subject- Exhibition: \"Painting in England\", program of events, invitations, gallery plan, program, invitation, guest list, etc. Dates- 5/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Paul Mellon and Basil Taylor. Subject- Basil Taylor, advisor tot Mellon collection and author of exhibition catalog: \"Painting in England, 1700-1850\". Catalog foreword by L. Cheek. Dates- 12/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitations and dinner programs. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Installation, catalog, security, lecture. List of slides, media coverage. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Remarks by Paul Mellon on exhibition opening, mock-ups of booklet form. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Full color photographic reproduction of the \"Sistine Chapel\", exhibition circulated by LIFE magazine. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Demonstration of mosaic technique using contemporary materials. Dates- 5/54 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Henry Moore. Subject- Aid of Helen Norman (neighbor to Moore) on establishing a dialogue with the VMFA concerning an exhibition and visit by the artist. Preliminary exhibition plans. Dates- 10/57 - 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Henry Moore. Subject- Preview and opening night arrangements, newspaper clippings and press releases. Dates- 5/65 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and R. Neutra. Subject- Exhibition and speaking tour by the artist. Dates- 6/59 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Goya exhibition: request for loans of works by Goya, announcements, invitations, list of paintings, Dr. Priscilla Muller (curator and speaker for exhibition). Program agenda. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecturer: John S. Szarkowski. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and James Rorimer. Subject- Exhibition of Contemporary photographs. Biographical data on Ivan Dimitri and A. Hyatt Mayor. Catalog: \"Phototgraphy in the Fine Arts\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- proposed exhibitions, information about traveling exhibitions, etc. Dates- 10/48-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Perry Rathbone. Subject- Pre-Columbian gold with lecture by Allen Wardwell. Dates- 4/67 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Vincent Price as Collector-of-the-Year. Date- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- African collection from the Olsen Foundation. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Una Johnson (Brooklyn Museum). Subject- Contemporary prints from the Brooklyn Museum, invitations and announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition of the American Institute of Graphic Arts 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Wm. Gaines, F. Brandt, Anne Marie Pope. Subject- Reinstallation of the permanent collection, estimated exhibition costs, Heeramaneck collection, list of exhibitions available form International Exhibitions foundation. Exhibition catalog: John Kelly Fitzpatrick\" , photographs. Dates- 9/68 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Wm. Quillian. Subject- Exhibition of Randolph-Macon Collection. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program agenda for reception, exhibition, gallery plan. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibitions of Chinese Textiles from Minneapolis Institute of the Arts. Lecture by Alan Priest. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposed gift of \"Gates of Hell\", from the Cantor Collection. Exhibition \"Study of a Woman's Torso\". Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Rosenwald as Collector-of-the-Year, 1965. \"Master Prints From The Rosenwald Collection\", introduction by Rosenwald for the exhibition checklist. Dates- 12/64 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Corrected draft by L. Cheek. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and L. Rosenwald. Subject- Personal invitations from L. Cheek. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition announcements. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Schedule of events for the season. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Paul Tishman. Subject- Exhibition from the Tishman Collection, letter of invitation, installation, Council lecture/luncheon. Speaker: Dr. John Akar, Ambassador of Sierra Leone. Remarks by J.M. Brown and Tishman, announcements and biographical data, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mailing lists for colleges, museums, etc. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek tour of England to photograph Elizabethan Houses. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Presentation of various forms of Arts of England during Shakespeare's life in commemoration of the 4th Centenary of his birth. Requests for loans of Elizabethan objects, press release, installation, etc. Dates- 8/63 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Exhibition of 19th and 20th century paintings, reception and event announcements. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Paul Mellon (Exhibition Chair) and Wm. Constable. Subject- requests for loans, French and British sponsors of exhibition including Queen Elizabeth, Honorary Committee Members, Patrons, catalog, PR, object damage report. Basil Taylor as special advisor to exhibition. Dates- 7/58 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Consultation on exhibition proceedings, travel and lecture schedule, biographical data and text for introduction to the catalog. Dates- 4/60 - 7/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Basil Taylor, Paul Mellon and A. Eiseman. Subject- Catalog layout, printing, design, budget, cost estimates, contributions. Essay- \"Classic Horse Paintings\", foreword by L. Cheek. Dates- 1/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Recipients of free catalogs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- William George Constable and his lecture for exhibition, biographical data, Bulletin vol.20 no.8 4/60. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of British sponsors, loans, selection committee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Mailing list, opening event, program and list of lenders to exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and John G. Pollard. Subject- List of sponsors, reception: program, agenda, menus, etc. Newspaper clippings. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Traveling exhibition in commemoration of Stravinsky's 80th birthday with related settings and costumes created for his ballets. Dates- 4/61 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Exhibition of contemporary prints and multiples (3-dimensional objects of limited editions), Lewis contributions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Railey Collection of European and Asian seals, Fisher Collection of paintings and exhibition of Ruth Safford: \"Interiors of Famous Houses\". Dates- 8/61 - 2/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from F. Brandt. Subject- Problems with exhibition objects. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Damage report of exhibition objects. Dates- 11/63  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Loans of objects from Pierpoint Morgan Library. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Extension of Tutankhamen exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Sample invitation and preview guest list. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- List of objects available for loan and prices. Exhibition announcements, gallery floor plan. Lecturers: Gerald Nordland and Hilton Kramer. Dates-1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Traveling exhibit from MOMA: \"Form In The Animated Cartoon\". Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to M. Christison. Subject- Unavailability of Van Gogh exhibition. Dates- 8/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Philip Johnson. Subject- Jurors: Carroll Meeks, Richard Di Natale and Hans Namuth. Official entry forms, exhibition announcements, biographical data. Dates- 10/61 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: Gyorgy Kepes, Philip Johnson and Ivan Dimitri. Invitations, guest lists, biographical data and entry forms. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- 1st Biennial exhibition.  Juror: Romaldo Giurgola.  AIA reception and dinner, program agenda, biographical data, invitations, pamphlets and exhibition catalog. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: Sherman Lee, Harry Bertoia, Bernard Perlin. Collectors reception, purchase of artist work by Trustees, invitations, entry forms, etc. Dates- 12/57 - 2/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, P. Near. Subject- Reception for purchasers of art works from the exhibition, and catalog. Dates- 1957, 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters to Artist on their award by the jury. Exhibition catalog, juror search and entry forms. Dates- 1959, 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: Carl Wienhardt Jr., Mary Callery and Robert Vickrey. Salon des Refuse's on view at Thalhimer's, events schedule and exhibition catalog. Dates- 6/64 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Juror: William Seitz. Installation, list of purchases, invoices, PR, invitations, guest lists, etc. Acquisition from Lewis Fund. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Gordon Bunshaft and A. Bodine. Entry forms and recipients of certificates of Distinction. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and P. Near. Subject- Exhibition to travel to Charlottesville. Dates- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecture by Dorothy Miner, announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and Mr. John G. Hays (Chairman of the Expansion and Development Committee). Subject- Trustee/Museum business, formation of the VMFA Expansion and Development Committee, report of the chairman, etc. Dates- 11/47-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and P. Crum (Curator) and College of William and Mary. Subject- W\u0026amp;M students visit to VMFA, loan from W\u0026amp;M for a VMFA traveling exhibition, arrangements for traveling exhibitions to W\u0026amp;M, etc. Dates- 2/41-7/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Education and Exhibitions) and Longwood College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Farmville State Teachers College, etc., 3/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- information on VMFA traveling exhibitions and an organization membership, etc. Dates- 7/48/8/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Art Club. Subject- arrangements for VMFA slides and traveling exhibitions to LAC, etc. Dates- 3/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Lynchburg College, etc. Dates- 1/49-2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Teacher's Club. Subject- arrangements for traveling exhibitions and slides to LTC, etc. Dates- 3/46-2/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Madison College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Madison College, etc. Dates- 12/47-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between C.C. McGehee (Assistant in Education Dept.) and Martinsville City schools. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Martinsville City schools, etc. Dates- 9/51- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA Education Dept. staff and Mary Baldwin College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to M.B. College. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Mary Washington College. Subject- arrangements for traveling exhibitions to M.W. College, arrangements for lecture by Christison at M.W. College, etc. Dates- 3/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Middlesex County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to MCWC, arrangements for lecture by Christison for MCWC, etc. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Narrows Woman's Club. Subject- arrangements for traveling exhibitions to NWC, etc. Dates- 10/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Newport News Woman's Club. Subject- arrangements for traveling exhibitions to NNWC, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Education and Exhibitions) and Norfolk Museum of Art. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to NM of A, exchange publications, etc. Dates- 1/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between H. Lloyd (VMFA State Services) and Richmond County Junior Woman's Club. Subject- arrangements for filmstrips to RCJWC, shipping instructions, etc. Dates- 10/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Roanoke County Woman's Club. Subject- VMFA traveling exhibition checklists, request for information about organization membership to the Museum, etc. Dates- 4/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between H. Lloyd (VMFA State Services Dept.) and Rockingham County public schools. Subject- VMFA traveling exhibition and slides checklists, arrangements for traveling exhibitions to Rockingham Co. Public schools, shipping instructions, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between E.L. Kallop (VMFA State Services Dept.) and Scottsville High Scholl. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions and slide sets to Scottsville HS, shipping instructions, etc. Dates- 9/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Sedley Woman's Club. Subject- notification of installment of Mrs. N.B. Rollings as chairman of Fine Arts Dept. of SWC, Date- 12/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Smithfield P.T.A. Subject- art material for Smithfield schools, Date- 11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between H.V. Rennie (Assistant in Education Dept.) and Southern Seminary and Junior College. Subject- schedule of VMFA traveling exhibitions to Southern Seminary and Jr. College ('46) and arrangements for traveling exhibitions to Southern Seminary and Jr. College, etc. Dates- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Hart (Extension Dept.) and St. Catherine's school. Subject- VMFA traveling exhibition checklists, schedule for traveling exhibitions to St. Catherine's, etc. Dates- 1/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and St. Christopher's school. Subject- schedule and arrangements for VMFA traveling exhibitions to St. Christopher's, etc. Dates- 9/48-11/48.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Staunton City School Board. Subject- arrangements for traveling exhibitions to Staunton City School Board, etc. Dates- 1/52-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, various Education Dept. staff and Stony Creek Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SCWC, etc. Dates- 2/47-1/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, various VMFA State Service Dept. and Education Dept. staff and Stratford College. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to Stratford College, shipping instructions, etc. Dates- 8/48-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition checklists, schedule and arrangements for traveling exhibitions to Stuart Hall, shipping instructions, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director of Collections and Education) and Suffolk Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SWC, etc. Dates- 8/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Surry Woman's Club. Subject- arrangements for tour of the Museum and traveling exhibitions to SWC, etc. Dates- 10/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Sweet Briar College. Subject- schedule and arrangements for traveling exhibitions to SBC, shipping instructions, etc. Dates- 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA State Service Dept. staff and Tazewell Parent-Teacher Association. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions, slide sets and filmstrips to Tazewell Parent-Teacher Association, shipping instructions, etc. Dates- 11/52-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Thomas Jefferson Junior Woman's Club. Subject- request and suggestions for speakers for TJJWC, etc. Dates- 7/47-9/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA and Thomas Jefferson Woman's Club. Subject- arrangements to visit, tour and hold a meeting at the Museum, etc. Dates- 11/40-1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA State Services Dept. and Three Arts Club of Blackstone. Subject- arrangements for filmstrips for TAC of B, shipping instructions, etc. Dates- 12/52-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- address of Mrs. Woods, President. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA Education Dept. staff and Toano Woman's Club. Subject- arrangements for holding a meeting at the Museum. Dates- 1/50-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and University of Richmond and Westhampton. Subject- arrangements for traveling exhibitions to U of R, shipping instructions, etc. Dates- 3/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- catalogues from the UVA Extension Dept. including the following: Famous Italian Paintings, Famous Flemish Paintings (Reprints from Seventy Famous Paintings by Adelaide D. Simpson (1927), The Story of Venetian Painting by Mrs. Stringfellow Barr and Cecily B.D. Ryder (1928) and Catalogue of Art Prints and Books (1937), etc. Dates- 1927-1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to UVA, shipping instructions, etc. Dates- 10/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and University of Virginia Museum of Fine Arts. Subject- checklists for traveling exhibitions sponsored by VMFA and UVA, the following publications by UVA: \"Twenty-five Contemporary Artists of Cleveland, Ohio\", \"Hugh Breckenridge\", \"Contemporary Artists of Virginia\", \"Contemporary Artists of Albemarle County and The University\", \"Alexander B. Trowbridge and Olin Dows\" and \"Elinor F. Hopkins\". Dates- 4/34-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between C.Y. Casey (Assistant in Education Dept.) and Upper King William County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to UKWCWC, shipping instructions, etc. Dates- 3/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Valentine Museum. Subject- information about becoming organization members of VMFA, a loan to VMFA from the Valentine, listing of the Valentine's activities, etc. Dates- 10/35-9/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and VA Education Association. Subject- Virginia Education Association art section meetings, etc. Dates- 2/47-10/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and VA Federation of Woman's Clubs. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VA. Federation of Woman's Clubs, VA Federation of Woman's Clubs yearbook ('47/8) and Directory ('48/9), etc. Dates- 1/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA traveling exhibition checklist. Dates- 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Virginia Polytechnic Institute. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to V.P.I.'s Architectural Department, etc. Dates- 6/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA State Services Dept. and Virginia State College (Norfolk Division). Subject- checklists for VMFA traveling exhibitions, arrangements for traveling exhibitions to VSC, shipping instructions, etc. Dates- 10/52-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and the Extension Dept. and VA State University. Subject- schedule of VMFA traveling exhibitions to VSU 1945-7, arrangements for traveling exhibitions to VSU, etc. Dates- 6/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Va. Teachers' Association. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VTA, arrangements for a lecture by Christison to VTA. Dates- 12/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA Education Dept. staff and Virginia Union University. Subject- VMFA loans to VUU's art festival, arrangements for traveling exhibitions to VUU, etc. Dates- 1946-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between E.L. Kallop (State Services Dept.) and Wakefield Woman's Club and P.T.A. Subject- checklists for VMFA traveling exhibition, arrangements for traveling exhibitions to WWC and P.T.A. Dates- 9/51-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Warren County High School. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Warren Co. HS, shipping instructions, etc. Dates- 10/46- 5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between O. Hart (Registrar) and Warwick County School Board. Subject- arrangements for traveling exhibitions to Warwick Co. Schools, etc. Dates- 1/49-4/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Warwick Woman's Club. Subject- arrangements for traveling exhibition to WWC, etc. Dates- 10/48- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Washington and Lee University. Subject- checklists of VMFA traveling exhibitions, arrangements for traveling exhibitions to W\u0026amp;L, etc. Dates-1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Waverly Woman's Club. Subject- schedule of VMFA traveling exhibitions to WWC ('46), WWC visit (with lecture) to VMFA, etc. Dates- 3/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA staff and West Point Schools P.T.A. Subject- arrangements for traveling exhibitions to West Point Schools, etc. Dates- 12/50-6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, various Education Dept. staff and Westmoreland Woman's Club. Subject- arrangements for traveling exhibitions to WWC, etc. Dates- 1/48-3/49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA State Services Dept. and William Campbell High School in Naruna, VA. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wm. Campbell HS, shipping instructions, etc. Dates- 12/52-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and various Education Dept. staff and Wilson-Jackson P.T.A. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wilson-Jackson P.T.A., etc. Dates- 1/47-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.T. Rhodes (Assistant in Education Dept.) and Wytheville County schools. Subject- arrangements for traveling exhibitions to Wytheville Co. schools. Dates- 4/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Wythe Woman's Club, Hampton. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC. Dates- 8/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education), various Education Dept. and State Services staff and Wytheville Woman's Club. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC, etc. Dates- 5/49-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.B. Christison (Assistant Director for Collections and Education) and Y.W.C.A.-Richmond. Subject- holding a meeting (with a visit and lecture) at VMFA. Dates- 4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA State Services Dept. and Young Woman's Club of Williamsburg. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to YWCW, shipping instructions, etc. Dates- 12/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between C.Y. Casey (Assistant in Education Dept.) and VMFA State Services Dept. and Zuni Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to ZWC, etc. Dates- 8/50-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\". Dates- 12/54-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\", note-included in these files: slides from Williams College of Art. Dates- 1947-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Chairman of the art department Williams College. Correspondence and biography 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Fashion Show in cooperation with Miller and Rhoads Dept. Store and Harpers Bazaar magazine to benefit the VMFA Council, Education Fund, Council dinner, event plans and program catalogue. Dates- 12/55 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator). Subject- the Fashion Festival of Arts and Flowers presented by the VMFA Council in cooperation with Miller and Rhoads Department Store, attendance lists, newspaper clippings, etc. Dates- 3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between national director and Thomas Colt, who was the State Director of the Federal Arts Project, 1935. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and the Federal Emergency Administration of Public Works regarding a grant to construct an additional wing to the Museum. 1935-38. More applications from Museum for funds from the Federal Emergency Administration of Public Works to complete projects such as casting a bust of John B. Payne and landscaping grounds. 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Federal Emergency Administration of Public Works and Virginia Commission for the Arts material, mostly on landscaping the grounds of the Museum, 1936. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Federated Arts Council of Richmond dinner and agenda, invitations. Dates- 2/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Peter Mooz. Subject- Committee reports, events schedules, annual meeting 5/29/74, \"Festival Of The Arts\", 18th annual report, Dogwood Dell June-Aug'74. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Awards Dinner agenda, letters of confirmation, thank-you's, etc. Dates- 12/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T.C. Colt, Jr. Subject- listing of and letters to prospective fellows (founding fellows), a copy of the constitution 4/55. Dates- 3/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Prospects for new membership program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Conservation Laboratory, Library Endowment, Fellows Weekend, orientation theatre, contributions and projects, statement of purpose, agendas, biographical data. Resolution in memory of Lewis Strauss. Dates- 1964-79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Fellowship Committee minutes 1942, 1948, 1949, 1950, Fellowship Committee agendas 1950, 1951, committee report 1949/50, Fellowship Committee announcements and replies, listing of fellowships given by the Virginia Museum of Fine Arts 1940-51, etc. Dates- 1942-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison. Subject- Aplicant interviews procedure. Date- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Fellowship Fund income account, application, letters to recipients: Primm Turner, Jenny- Lynn Franklin and John D. Norwood. Dates- 5/54 - 5/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Essay- \"Outline for a Proposed Film for the Virginia Museum of Fine Arts\" by Vavin, Inc. 3/60.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1947, 1948, 1950, Finance Committee meeting minutes 1948, 1949, 1950, letters soliciting opinions from Trustees about stock purchases and committee resolutions and replies, VMFA Pooled Endowment Account 1949, stockholder information , etc. Dates- 1947-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1950, 1951, Finance Committee meeting minutes 1952, committee report 1950, status of capital funds listing 1950, list of securities held and cash balances, financial transactions, etc. Dates- 1950-2. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1952, 1953, Finance Committee resolutions 1953/4, Capital Funds Investments and Cash listings 1952, 1953, stockholder information, financial transactions, etc. Dates- 1952-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1955, Finance Committee resolutions 1954, a listing of Finance Committee meetings and actions in writing 1948-56, financial transactions, stockholder information, statement of endowment investments 1955, pooled investment listing 1955, investment changes for the period 4/30/55-12/31/55, etc. Dates-1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Lawler Fund. Dates- 10/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- stockholder information (i.e. annual and quarterly reports of companies). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee resolutions 1948/9, excerpts from Finance Committee meeting minutes 1939, 1951, Date- 3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from A. Nicholas. Subject- Statements of income, balances, private income, special purchase funds, operating budget, etc. \"Virginia Museum Semi- Annual Financial Report Dec. 31, 1970\" , \"Summary of Financial Support\": 1935- March 31, 1971, 19l35- June 30, 1969, Art Purchase Funds, Capital Outlay Programs to purchase land and buildings, List of Art Purchases 1970-71. Dates- 6/70 - 10/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and G. Martin. Subject- Responses to questionnaire from various theatre directors, VMT regulations. Dates- 1965 -66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT Statement of Purpose, application for Samuel Tate Morgan and/or George Seay Memorial Trust Funds. Letter of grant award for the expansion of VMFA Library holdings and list of books purchased, newspaper clippings. Dates- 5/69 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Administrator, Richmond Area University Center. Correspondence with 1949-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Memorial for Col. Herbert Fitzroy, letters of receipt of contributors to purchase a sculpture to be placed on permanent exhibit in Artmobile II: \"Crowing Rooster II\", G. Marcks. Dates- 10/67 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- information about proper display of U.S., U.N. and VA flags. Dates-11/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns cultural development there. 1957-59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Agreement on the Importation of Educational, Scientific and Cultural Materials\", Bill signed on 6/24/59, press release. Unesco sponsored agreement to eliminate tariffs and special import taxes on educational, scientific and cultural materials. Dates- 9/59 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Horace S. Flournoy. Subject- repair of heating system at the Museum. Dates- 10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- plantings around the Waddy Fountains at the front of the building, lawn and plant care, listing of growing plants used, etc. Dates-6/54-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA staff and Harvard University's Fogg Art Museum, mostly regarding the loan of a Copley portrait for the Museum's inaugural exhibition, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, J. Coolidge (Dir., Fogg). Subject- General correspondence regarding conservation, authenticity of objects, employment referrals, research, etc. Dates- 4/52 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- arrangements for Folktale Marionette Theatre to perform at VMFA in Dec.1953, etc. Dates- 3/53-1/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- visit of Mrs. Henry Ford II, to see VMFA operations. Dates- 3/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- information about a Virginia artists watercolor exhibition sponsored by the Ford Foundation Title \"Virginia by Virginians\", copy of an invitation to Mr.and Mrs. Ford to the opening, etc. Dates- 1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- newspaper clippings and statement of purpose of the Ford Foundation. Dates-12/48-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Ford Foundation. Subject- proposal of VMFA serving as regional center for Ford Foundation's creative artists selection program 1958, proposals for Foundation support, Foundation publications, etc. Dates- 10/50-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., J.M. Brown and Ford Foundation. Subject- information about applying for Ford Foundation support, Foundation publications, etc. Dates- 10/59-10/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Program for Painters, Sculptors and Related Artists. Letters to jury members, entertainment. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., and the Ford Foundation. Subject- the Museum as a locale for the premiere art exhibition to be featured in the March issue of the Ford Times, an exhibition highlighting VA artists named \"Virginia for Virginians\", included are copies of the exhibitions' gallery guide, invitations to the preview and a copy of the Ford Times feature issue. Dates- 11/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and American Association of Museums (AAM). Subject- roster of foreign museum Directors visiting VMFA on a AAM sponsored tour (in cooperation with the State Department), biographical information on visitors, etc. Dates- 3/65-5/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to VMFA staff. Subject- memos about arrangements for luncheon held at Museum for international newspaper people. Dates- 6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposal for VMFA travel program, tour estimates and brochures. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition preview speaker: Ariad Yafeh, biographical data, reviews and photographs. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Guest lists for opening event, sample letters for invitations and replies. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about museum practices, Cheek serving as honorary member of advisory committee of Directors and Curators, etc. Dates- 3/52-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Keith Fowler. Subject- theatre operations, policies, programming, newsletter to friends, volunteers and theatre subscribers, etc. Dates- 10/69-12/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between William Francis and L. Cheek, Jr. Subject- Museum publications business and arrangements, etc. Dates- 12/64-9/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Governor Peery, T.C. Colt, Jr. and Douglas S. Freeman, president of the Confederate Memorial Institute. Subject- Transfer of the John B. Payne collection from the Battle Abbey to the museum. Dates- 1935-39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with L. Cheek, Jr. Subject- mostly professional matters, but some personal information is given. Dates- 1948-53.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and French and Company. Subject- French and Company, Inc. art dealers, loans, conservation work, proposed sales to Museum, photos and descriptions of objects, etc. Dates- 6/46-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject- photo requests from the Frick Art Reference Library, reference questions, exchange publications, etc. Dates- 2/46-9/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Friddell was columnist for the Richmond News Leader. Correspondence with Cheek, 1949-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- memo about calendar of Museum events, mailing to American Ballet Theatre Friends, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Preparation plans for \"George Stevens Makes a Film\", an exhibition based on the making of an epic film (The Greatest Story Ever Told), installation, cost estimates, etc. Dates- 1/64 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Search for Egyptian objects to purchase, exhibitions: Sport and Horse and American Folk Art, College Drama Festival, loan of P. Klee works, collectors circle, Biographical data, Fellows, donation, gifts, Segregation in VMT, background information on paintings for Wm. Henry Yates, Marshall Research Library, Poetry Society of Virginia, Glasgow Estate. Accessions and gifts: \"Tree\", H. Gray; E. Hopper; Rutherford Goodwin, Jr.(signature). Dates- 1/55 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General museum business, inter-museum memos. Richmond Sinfonia, special purpose gallery, exhibition policy. Museum television, funding sources, COVAO conference, sale of Artmobile I, Council, newspaper clippings, pamphlets and funds generated through programs division, letter from Robert Indiana.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Bill (William) Gaines (head of Programs Division). Subject- programming educational, exhibitions, films, affiliates, etc., Museum operations, etc. Dates- 3/70-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Acquisitions, objects for purchase consideration, various newsletters, exhibition catalog: \"Nature As Scene\". Dates- 4/76 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with other museums. Subject- exhibition announcements, information about loans to other museums, etc. Dates- 3/53-3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Dir. for Collections and Education) and Mr. Charles Seymour (Yale University). Subject-request to look at the Museum's collections. Dates- 2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Col. Edgar Garbisch and L. Cheek, Jr. Subject- gift to VMFA-Junius Brutus Stearns paintings of life of George Washington, photos and information about paintings, biographical information about Garbisch, etc. Dates- 1/50-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- arrangements for the 50th anniversary dinner of Garden Club held at VMFA, etc. Dates- 9/68-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns the Garden Clubs of Virginia and America 1958-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., J.M. Brown and Mrs. T. Fleetwood. Subject- Mrs. T. Fleetwood as a Trustee, Trustee business, gift to Museum, etc. Dates- 5/64-7/75. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Landscape Architect for Museum. 1957-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by John Garland Pollard, Jr. Subject- invitation to members of General Assembly to use Museum facilities, announcement of a reception for General Assembly members spouses, VMFA Members' Bulletin vol.20, no.5 1/60. Dates- 1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters sent to members of the General Assembly 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and Gibbes Art Gallery. Subject- Brown working on problems of the Gibbes Art Gallery, \"Report to the Board of the Charleston Art Association\" co-written by Brown, etc. Dates- 12/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trustee, Executive Committee. Dates- 1950-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mr. George D. Gibson as Trustee, Trustee and Local Building Committee business, copies and excerpts from minutes of the Executive Committee 1948-53 dealing with VMFA building, news release 6/57 about Gibson being elected VMFA President, etc. Dates- 12/52-11/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mr. George D. Gibson, a lawyer with Hunton, Williams, Gay., Moore and Powell. Subject- flooding at the Museum, building inspections, structural problems with the building, the shipment of a Watteau painting to VMFA, a Melchers gift, etc. Dates- 7/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and J.M. Brown. Subject- acknowledgments of receipt, thank you letters to donors for gifts of all kinds (money, books, equipment, etc.,). Dates-11/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mr. Arthur G. Glasgow. Subject- gifts to Museum, Museum events, information pertaining to the Estates of Margaret Branch Glasgow and Arthur Graham Glasgow. Dates- 2/54-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr., J.M. Brown and Walter S. Robertson (VMFA President). Subject- transcript of remarks by Governor Mills E. Godwin, Jr. at Southeastern Theatre Conference 1966, Museum events, Mrs. Godwin to serve as honorary chairman of Entertainment Committee, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- President of Princeton University. Request for him to lecture at Museum. Dates- 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Associated Artist Gallery, Washington, D.C. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Candidate for Theatre Director-Producer 1957.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mrs. Pollard was a member of the Goodwin Memorial Commission appointed by the state to erect a scroll honoring the Reverend William Archer Rutherfoord Goodwin, former rector of Bruton Parish Church and man who dedicated his life to the restoration of Colonial Williamsburg, 1950-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and Mr. F.D. Gottwald. Subject- agreement and arrangements to establish Elisabeth Shelton Gottwald Fund. Dates- 4/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- copy of report on Museum, recommendations to Museum made by Governor's Management Study Group. Dates-7/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Mills Godwin and Peter Mooz. Subject- Budgets: cutbacks, executive order, appointments to VMFA Executive Board, creation of job positions, Museum organization charts, Melchers Estate, Arts Commission, Executive Mansion furnishings and lists of objects. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by J.M. Brown. Subject- arrangements for unveiling (10/5/71) of new acquisition of Goya's painting- General Nicholas Guye guest lists, invitation, news releases, photo and information about painting, etc. Dates- 9/71-2/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- \"General Guye\", Goya. Special event, agenda, invitations, etc. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with John Graham (Curator, Colonial Williamsburg). Dates- 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Related to the death of Mr. Gray and his family. His bequest to the Museum and a memorial to him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. Horace Gray, Trustee. Subject- Museum business, biographical information about Horace Gray, VMFA Members' Bulletin vol.19, no.6 (2/59), etc. Dates-5/51-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- correspondence about hiring Mr. Paul Grigaut as head of Collections Division, Museum practices, information about Museum Collections catalogues, etc. Dates- 6/62-4/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Theft-general. Contains one newspaper clipping 5/28/62.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- correspondence with Senator Raymond R. Guest, announcement of gift to Museum of bronze gates, Museum events and business, etc. Dates- 11/48-5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and L. Cheek. Subject- List of sites for guidebook , roster of names for nominating committee, letters to publishers, price structure, biographical data, promotional information, outline for publication by the Trustees for \"An Official Guide To Four Centuries Of Building In The Old Dominion\". Dates- 4/66 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Finnish Society of Crafts and Design 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, F. Brandt, F. Haseltine. Subject- Installation of \"Symbol\" at Phillip Morris site, invitation mailing list, reception agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown, F. Haseltine, P. Near. Subject- Exhibitions, VMT, loans, gifts, endowments, biographical data, invoice for work restored, acquisitions, installation of Heeramaneck Collection, Pastorale fund, Project Grant Application, Tax Status. Essay- \"A Brief Summary of Accomplishments of the Virginia Museum of Fine Arts\", 1962-64. Dates- 9/51 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mr. Haller was a public relations consultant hired under special circumstances and kept off of the state payroll. This letter pertains to this and circumventing the state system 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and S. Robertson. Subject- AAM meeting in Williamsburg, increase in security staff at VMFA, Artmobile, Executive order from the Governor's office to divide the Board of Trustees into five divisions. Request for authority to prepare Capital Outlay Plans for South Wing, invitations to serve on various committees, presentation of Webster S. Rhoads award to Gov. Harrison, newspaper clippings. Dates- 5/61 - 11/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and Public Buildings Administration (Federal Works Agency). Subject- Harrisonburg post office mural competition (Colt served on the jury of selection and advisory committee) and contract with Public Buildings Administration. Dates- 2/41-10/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cheek's 25th college reunion and an art exhibition in conjunction with the reunion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Melissa Hayden and Andre Eglevsky. Dance performances at the VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mrs. John G. Hayes, Sr. Subject- Trustee/Museum business, money to the John G. Hayes Endowment Fund, etc. Dates- 11/49-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. J.G. Pollard and W. Rhoads. Subject- John Green Hayes Memorial Fund. Dates- 5/48 - 11/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter of appeal from VMFA to Hearst Foundation for financial assistance. Dates- 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Biographical data, press release and his presentation to the AAMD, newspaper clippings. Dates- 4/62 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lecturer for the Latin American Exhibition 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT: tour schedule, HEW grant proposal, \"A Cultural Program in the Dramatic Arts for Virginia High School Students\", newspaper clippings, postcards, reviews, project budget, financial support. Dates- 5/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Travel Itinerary, loans , VMT productions, collectors circle, LOAS (Loan-Own Art Service), search for prospective jurors, letter to Helen Hayes to address VMT, biographical data, gallery plans, invitations to preview Hogarth exhibition. Dates- 9/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Request for luncheon and agenda. Dates- 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison. Subject- Request for VHS to hold annual meeting. Dates- 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to Col. Hodges (Membership Chair). Subject- Trustee/Museum business, Hodges served as the Chairman of the VMFA Membership Committee, etc. Dates- 11/35-3/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA Bulletins: vol.26 no.3 and vol.27 no.6. Hogarth lecture to VMFA, itinerary, biographical data, Wm. Blake exhibition. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Candidate for Theatre Director 1957. Contains resume and letters to, from, and about him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, P. Davidson, and P. Rathbone. Subject- Exhibition: \"Treasures of Alexander\", request for loans, list of objects in connection with exhibition, installation design, theft of Nike Earring. Dates- 9/63 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Term as a Trustee and Fellow at VMFA and as a Trustee at Norfolk Museum, Exhibition: Treasures from the Norfolk Museum. Gifts and donations. Dates- 9/61 - 4/3 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Collectors circle, Fellows, Trustee, gifts and donation. His service as a Trustee at the Chrysler Museum. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information on state holidays. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between J.M. Brown and Gov. Holton. Subject- Proposal for a Bill to organize a citizens advisory committee to improve furnishings and interpretation of the Gov. Mansion. Statewide Building Code, Administrative Amendments 1/29/73, Sec. 873.5. List of participants and Museum conference notes to determine how Va. Museums can assist one another, Inauguration arrangements committee, rosters: House of Delegates, Senate and legislature. Essay- \"The Holton Years: A Summing Up 1970-1974\". Dates- 9/61 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes and Reports from the Honors and Awards Committee and the Board of Trustees, 1948-56. Much of this concerns Mr. and Mrs. A.D. Williams, The Katherine Rhoads Fund and the Webster Rhoads Medal, and Arthur and Margaret Glasgow, letter regarding the Mary Samuel Davies Bright Memorial. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Arts and Humanities Commission, Pratt Estate, Cabell Foundation, Ford Foundation: VMT underwriting. Trustee interviews, gifts of appreciated property. Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper clippings, photographs. Dates- 10/8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and J.M. Brown. Subject- Parsons Fashion Show, slides, pamphlets, newspaper clippings. Dates- 8/63 - 7/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Seating arrangement. Dates- 11/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J. Sweeney and Lee Malone. Subject- \"Design In Scandinavia\", Cheek's remarks. General correspondence concerning museum loans and policy. Dates- 4/63 - 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Miss Nora Houston and T.C. Colt, Jr. Subject- biographical information, information about exhibitions she participated in, proposed acquisition of her work, etc. Dates- 4/36-2/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- U.S. House of Representatives, New York State. Correspondence concerning government support of the arts. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Copy of his speech given at the Architectural League Symposium 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Term as a Trustee, membership campaign, budget committee, newspaper clippings. Dates- 5/59 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Fellow, VMT, Exhibitions, Artmobile, long term loan of 18th C. Dec, Arts objects, Hogarth exhibition, contract bid for landscaping, North Wing. FILM: \"THE ART of THE CONSERVATOR\" Dates- 2/64 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Trustee, Fellow, gifts. Remarks concerning Fellows meeting, Draft of Executive Committee Meeting Minutes, 12/8/70. Official application form for AAM accreditation. Art Nouveau Collection, Council lecture and luncheon with draft of suggested remarks delivered by C. Humelsine. Dates- 1969 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Requests for catalogues, loans, exhibition announcement, proposal for an \"International Traveling Exhibition\", technical info on Ivisiglass. Dates- 4/45 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- RSVP's to auditorium inauguration, thank you notes to musicians used for the opening, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Innocenti and Webel (landscape architects) concerning VMFA grounds. Dates- 7/64 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison, L. Cheek, T. Colt and Mrs. Pollard. Subject- Requests for publications, general information regarding VMFA collections, exhibitions and museum operations. Dates- 10/35 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General information on exhibition installations.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains one brochure, 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- insurance against air raids and other war damage, correspondence with other museums about war risk insurance. Dates- 6/42 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard, L. Cheek, Jr. and M.B. Christison (Assistant Dir. for Collections and Education). Subject- damage claims to art objects we lent and/or were on loan to the Museum. Dates- 11/49-11/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Samuels Collection [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Draft of the Constitution and By-Laws of the proposed Virginia History and Museums Federation. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- ICOM statement of mission, travel expense records, membership and financial statements, pamphlets, Minutes of Executive Committee 1/30/60, 5/25/65, Annual Report 1965, newsletter, pamphlets, etc. Dates- 1961 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Annual Reports, Statutes, guidelines for International Rules of National Committee, Museum Training Programs, Newsletters, Minutes of Annual Meetings, budget, membership, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Mrs. J. Pope (Pres. IEF) Subject- Invitation to become a member, statement of mission, list of officers, IEF Financial Report 12/31/72, Annual Report 12/1/72, NEA award, catalogue listings, list of traveling exhibitions 1966-72. Dates- 1966 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Anne Marie Pope. Subject- Lists of current and planned exhibitions, events schedules, minutes of annual meeting. Dates- 1973 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Article from \"Preservation News\", 1/71 vol., XI, no.1 and Sunday Supplement from New York Times. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown, P. Near, Phillip Johnson. Subject- P. Johnson's advise of design of the New Wing and as possible juror for Va. Biennial. Rotunda Club, Jamestown Festival, Robinson House, Hogarth Exhibition, Jr. League activities, and restoration of downtown Richmond. Photocopy of text from letter between Wm. Fitzhugh to Charles Carter 11/30/1796, pamphlets, donations, gifts. Dates- 12/55 - 12/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from W.S. Robertson. Subject- Letter of appointment to Executive Board. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 350th Anniversary. 1955-57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information on the Museum's contributions to the celebration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek to serve on advisory committee and certificate of award for his service, presentation of Pocahontas portrait for permanent display, \"Report From Sub-Committee, Jamestown Commission\", 10/30/57. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- photos of the \"Japanese Architecture\" exhibition, printed material for the exhibition, arrangements for bringing the Japanese Charge d'Affaires to VMFA, transcript of remarks made by Mr. Shima (Japanese Charge d'Affaires) at the opening preview, etc. Dates- 4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Itinerary and agenda for East Meadow High School of East Meadow L.I., New York. Dates- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown. P. Near, A.P. Jenkins. Subject- A.P. Jenkins collection, gifts and contributions, loans, Fisher rug collection, B. Barenson, Ash Lawn, Caligula statue, invitations, agendas etc. \"Art Now: New York\" vol.2 #10, University Galleries, 1970 (contains large color plates). Conceptual statement for Cabrillo Marine Museum. Dates- 8/54 - 9/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Jay W. Johns. Subject- Trustee/Museum business, gifts to Museum, information about an Evelyn Byrd portrait by a disputed artist (Kneller or Bridges), etc. Dates- 6/35-9/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- J. Johns service as a Trustee and Fellow, gifts and donations. Dates- 4/50 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- B. Johnson's (Conservator of L.A. County Museum) observations concerning the authenticity of a Veronese painting and his personal collection of pre- Columbian sculpture and Asian ceramics. Dates- 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and T. Catesby Jones. Subject- Jones' collection of modern paintings and sculptures, gifts to the Museum art and books, letter from Jean Lurcat, etc. Dates- 3/41-12/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- The loan of Mrs. Catesby's collection of French Modernists to the VMFA and gifts. Dates- 2/50 - 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from l. Cheek, R. Guest (Fellows, Chair) and W. Robertson. Subject- Her appointment as a Trustee and role as chair of the membership committee. Dates- 7/64 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- State Supervisor of Art, 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- purchase requests for photos. Dates- 3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to J.M. Brown. Subject- Agenda and letters of confirmation. Dates- 6/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Volunteers at the Museum, 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter of confirmation. Dates- 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Letters of recommendation, resumes, prospective jurors, exhibition: \"Ugliness in Virginia\", Robert E. Lee Memorial, Fellows, gifts, donations, pamphlets. Acquisitions: Artists, Duane Hanson and Stephen Posner. Dates- 4/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Karolik collection of American Painting, Artmobile and Collectors Circle. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Maxim Karolik. Subject- proposed lecture for exhibition \"The Karolik Collection\", printed material for exhibition, etc. Dates- 9/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Illumination exhibition for the American Federation of Arts: proposal, budget, exhibition news, advisory committee and Minutes of 1st Meeting 11/23/64. Dates- 1/65 - 2/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek as member of the Council for the Kennedy Center and Board of Trustees, bulletins, progress reports and newsletters and a letter from Jacqueline Kennedy dated 1/14/66. Dates- 2/59 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and H. Willett (Supt. of Rich. City Schools) Subject- Letter to F. Keppel (Asst. Sec. of HEW) concerning a Math and Science Center. Essay- \"Proposal For a Supplementary Mathematics and Science Center\". Dates- 11/65 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters of request and confirmation, menu and tour. Dates- 8/71 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Pamphlets: \"The Library - Documentation Project spring 70\" , \"The Urgency of Our Mission\" and \"Statement of Purpose Fall 1969\". Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J.G. Pollard, T. Colt, L. Cheek and Harry Brooks. Subject- Requests for publications, provenance of Italian Renaissance painting being considered for acquisition, loans, pamphlets and shipping invoices, etc. Dates- 2/46 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, T. Simmons (Knoll) and Florence Shu Knoll. Subject- Interior design and furnishings of the Members Suite, offices, restaurant and Library, Knoll Catalogue 1956, newspaper clippings. Dates- 2/49 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Portrait commission of L. and Mary Tyler Cheek and his exhibition at the Museum of the City of New York. Information about introduction to exhibition catalog. Dates- 1/63 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Parson's School of Design. Design consultant VMFA 1954-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- The creation of layouts of loan exhibitions and permanent displays, agendas, job description, newspaper clippings, biographical data, postcard, etc. Dates- 2/58 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mr. Koenig was a guest promotion director at the VMFA 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to contributors of memorial fund. Subject- Memorial established by the Theatre Associates of VMFA, sample of bookplate in his memory. Dates- 4/62 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Samuel H. Kress Foundation 1958-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence about bill and payments with Kuhn. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artmobile project for the Arkansas Arts Center, \"Let's Go, Reflections on the Art of Administrative Leadership\". Dates- 8/62 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Chapters/Affiliates, newsletters, Lectour broadcasts, newspaper clippings, invitations, Lawler Memorial Fund, Artmobile. Artists: Pietro Lazzari, Janice S. Lemen, John Gadsby Chapman, photograph. Dates- 5/58 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown and P. Near. Subject- Publication requests, gifts, contributions, collectors circle, Fellows, suggested bequest wording, Artmobile, loans, exhibition announcements, NEA questionnaire: \"Conservation in Museums- August 1971\", restoration and condition report of \"Battle of Yorktown\", Lami. Artists: Mario Dubsky and Eugene Berman. Gift and donations: \"La Sympathie\", Pettijean. Date- 11/62 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Port Sunlight, Chesire England.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and the VMFA Board of Trustees. Subject- To prevent the construction of the Valentine Museum's Latrobe Theatre. Dates- 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lecture by Cheek to the College Art Association 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to E. Cless (program Consult., U. of Minn.) Subject- U. of Minnesota Institute on Administration and Services in the Small Art Museum, program agenda, travel schedule, list of registrants for the seminar, report on the panel on museum publications, pamphlets, map, etc. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek to G.H. Holmes (Dean of U. of Pa.). Subject- Urban Criticism, experiences in traveling exhibitions on city planning, resolutions and solutions on urban problems. Biographical data on participants of conference, travel expenditures, agenda. Dates- 7/58 - 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Priscilla Crum to Prentiss Taylor. Subject- lecture by Taylor, Wednesday evening programs schedule 1948, proposed schedule 1947-8, etc. Dates- 9/47-1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and M.B. Christison. Subject- prospective speakers, films, etc. for programming. Dates- 10/48-12/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- schedules for Wednesday evening and musical programs. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lectures given by L. Cheek, Jury duty lists, consultations, invoices, expense records, agendas, pamphlets, magazine excerpts, Essay- \"The Place Of The Arts In Our American Culture\", by L. Cheek. Dates- 1953 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lectures given by various members of the VMFA staff. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from D. Nicholas. Subject- Procedure and policy concerning VMFA security.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Monthly newsletters on \"Reflections on the Art of Administrative Leadership\", L.H. Kurtz, publisher/editor. Dates- 9/62 - 11/64, 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown, P. Near C. Humelsine, F. Brandt and Wm. Gaines. Subject- Art Nouveau Fund: list of purchases, legal document of fund establishment. Artmobile and contemporary Art Purchase Fund. Dates- 5/67 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Possible sources for the purchase and restoration of the Alexander-Withrow House, Lexington, Va. Dates- 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- D. Liebes (color consultant and textile designer) on proposed text for her essay to appear in AIV and her lecture to be given at the VMFA on crafts and the creation of VMFA Craftsperson - residence. Dates- 4/63 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and E. H. Bushbeck (Kress Found.). Subject- Drawings and description of Dr. Reinhardt's gallery in Switzerland. Dates- 2/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and V. Gaskins (asst. to L. Cheek). subject- Planning of VMFA lighting facilities, \"Art Museum Lighting\", 2/59, excerpt from a journal of Electrical construction and Maintenance. Dates- 2/59 - 9/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposal of Library-Museum at Lincoln Center. Dates- 2/59 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Ralph Linton Collection of African Sculpture. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Requests for loans of furnishings to other state properties. Dates- 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of loans under consideration, loans to ambassador residences in England and Australia. Photographs. Dates- 2/61 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and director of Louvre. Subject- Poussin exhibition at Louvre and VMFA loan of \"Achilles on Skyros\" and Delacroix exhibition, loan of \"Deliverance of Princess Olga\". Dates- 10/59 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lighting Technician, VMFA, 1953-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek and C.B. Lusk. Subject- Lighting instruments and technical drawings. Essays- \"Lusklite as developed and used at the VMFA\" and  \"The Installation and Lighting of Exhibitions at VMFA\" Dates- 8/56 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.R. Duncan and Gordon Huff. Subject- Expansion of Lynchburg Arts Center to become an affiliate, loans for opening gala, suggested text for print media, schedule of events, Artmobile, Lynchburg Arts Center Executive officers. Introductions for L. Cheek and W. Robertson, travel itinerary. VMFA lecture series: Building For The Arts 1965-66, pamphlets. Dates- 5/62 - 7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposal for \"The National Arts Center of New York University at Washington Square\", Exhibition: \"Tastemakers\", based on R. Lynes Book. Official guest list for opening reception. Dates- 10/54 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, L. Cheek, P. Near and F. Haseltine. Subject- Membership, gifts, personnel references, loans, Jamestown Foundation, proposal for commission of sculpture in F\u0026amp;M Plaza. Acquisitions and gifts: Egyptian cups, Coptic sculpture, Bertoia drawing. Dates- 4/61 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Macbeth Galleries. Subject- loans for inaugural exhibition and general correspondence about proposed acquisitions from Macbeth galleries. Dates- 9/35-7/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Orders and correspondence for back issues of Bulletins and magazines, 1946-47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Alessandro Magnasco, Painting 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mailing and sign schedules, roster of names and institutions. Dates- 1960 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mailing and events schedules. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, P. Near, D. Isley (Norton Simon Collection). Subject- Press releases, shipping, installation, purchase invoice, info regarding owners of the other castings. Photographs and slides. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Paul Manship. Subject- designing the John Barton Payne medal. Dates- 9/36-10/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and W. Robertson. Subject- His Service as a Trustee, Fellow, and chair of Trustee Budget Committee. Biographical info, Artmobile, 25th Anniversary of VMFA, museum business, financial statements, Education In The Arts. Dates- 12/56 - 5/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Long Island Historical Society. Subject- Provenance, purchase through Glasglow Fund. Dates- 12/55 - 1/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Resume, photo, agenda, NEA grant request. Dates- 4/65 - 5/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- M. Baldwin Choir Program, Alumnae issue Bulletin concerning visit of Pres. Eisenhower. Invitations, Fine Arts Center, Woodrow Wilson Project. Dates- 2/56 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Julien Binford. Subject- Mary Washington Arts Center, invitations, VMT, loans of art works, newspaper clippings. Dates- 11/49 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Gifts to VMFA. Dates- 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mrs. William R. Massie. Subject- Trustee/Museum business, etc. Dates- 12/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecture: John Goldsmith Phillips, biographical data, press release and catalog list. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecturers: V. Isabelle Miller and Mrs. Yves Henry Buhler. Press release, publicity schedule and photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- floor plan, instructions for installation for exhibition \"Masterpieces of Chinese Art\", printed material for exhibition, thank you notes to lenders to the exhibition, etc. Dates-11/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Candidate for the Theatre Director Position. Contains resume and applications, letters of recommendation etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Director of Public Relations for 20th Century Fox. Speaker at the Museum 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Public Information Division VMFA. 1955-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Director of Vassar College Art Gallery, requests for publications, lecture. Term as curatorial research asst. at VMFA. Dates- 9/53 - 6/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Dedication of new Library, loans, invitations, VMT, Farewell gift to Mr. and Mrs. Cheeks with poem. Gifts, contributions, G. Melchers memorial. Dates- 2/60 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- General membership information, loans, press release, invoices, newspaper clippings, etc. Art Nouveau Collection. Letter to L. Marden (residence designed by Frank Lloyd Wright). List of Artists editions: prints and objects from Multiples Inc., NYC, price list and description. Artist: Phillip Lindsay, signature. Acquisitions: Monet, van der Helst and Rodin. Dates- 12/69 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and French and Co., Inc. Subject- pieces sold to and installed in the Museum, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposal to establish an Institute of Mediterranean Culture at U. of R. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Carroll L.V. Meeks. Subject- thank you notes for visit to New England personal friendly letters, etc. Dates- 4/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, Mrs. Pennell (Membership Secretary) and Mrs. Gari Melchers. Subject- VMFA members in Fredericksburg, postcards, gift to Museum , etc. Dates- 12/35-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Her service on the Executive Committee, Melchers Estate, budget, gift status of \"Dead Jockey\", E. Degas. Contributions, gifts, newspaper clippings, biographical data. Dates- 4/56 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt (Dayton Art Inst.) and Dr. Higgins (Chair of VMFA Board), J.M. Brown. Subject- \"Disposition of Mr. Gari Melcher's Estate Excerpted from Virginia Museum Minutes Books, No.4,5and6\" , prepared by A.W. Statnaker, Asst. Administrator 7/17/74. Resolution, re: \"Belmont As An Art Center And Museum\" and \"Opening Of The Belmont Facility To The Public\" , Executive committee Minutes. Dates- 5/74 - 11/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Melchers estate/bequest to the Museum, agenda and minutes of Gari Melchers Memorial Committee 5/56-10/56, report and proposals of that committee. Dates-5/56-10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- appointments to committee, general operation of Estate, suggested budget, list of Melcher paintings owned by VMFA, loans of art works, drawings/blueprints: G. Melchers Studio air conditioning system and proposed plaque for ashes of Mr. and Mrs. Melcher. \"Belmont Agency Agreement\", Bill to transfer Melchers Memorial from VMFA to Mary Washington college. Dates- 4/56 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- First Chairman of Fellows: 1st Annual Meeting and statement of purpose. Exhibitions: English Painting, French Portraits, Sport and Horse, Artmobile. Old Dominion Foundation and his membership on the Executive Committee, gifts, donations and contributions. Dates- 2/38 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His membership on the Board of Trustees, Fellows, Collectors Circle. Biographical info, loans of art works from his personal collection, donations and gifts to VMFA and the National Gallery, Artmobile, as a recipient of the Benjamin Franklin Award: statement of purpose, nomination form, list of contributions, newspaper clippings, photocopies of magazine articles, invitations , etc. Dates- 1965 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and W. Robertson. Subject- Collectors Circle, Fellows, term as VMFA Vice President. Press releases, newspaper clippings, contributions and gifts. Dates- 4/60 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison. Subject- Members lecture series. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Wm. Higgins, Jr. (Pres.) and C. Humelsine (Pres.) Subject- Draft of letter to membership regarding schedule of events etc. Dates- 9/71 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program where paintings from contemporary Virginia artists would be loaned (rented) to members to have in their homes. Members could also purchase the paintings. \"Designed to bring the work of Virginia artists into the homes of Virginia citizens.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Wm. Higgins. Subject- Monthly membership report summary, Chapters/Affiliates reciprocal membership program, letters of general correspondence to the membership. Dates- 4/70 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- minutes of the Membership Committee 1/48, 2/49 and a letter supporting the proposed theatre wing from Mrs. Wm. Trigg, Jr.(Civic Theatre Committee, Div. of Recreation, City of Richmond). Dates- 9/47-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Membership report, promotion, agenda, roster of committee members, minutes of committee meeting. Dates-8/72 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes of membership committee, elements of campaign to attract new members and move members to higher categories. Dates- 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Guided tours for prospective members, agendas, schedules, newspaper clippings, excerpt from Minutes of Executive Committee 12/14/72. Dates- 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Webster Rhoads (Pres. of Museum Board) and R.A.Velz (Administrator). Subject- list of new museum members, request form for membership, Membership Reports 1954-5 and 1955-6, list of membership privileges, etc. Dates- 11/55-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. W.A. Nones (Chair, Trustees), J.M. Brown and C. Humelsine. Subject- General membership information, schedule of events, calendar, pamphlets, etc. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- membership rosters of local organizations, copies of a cover letter soliciting members, etc. Dates- 1/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Survey results, years of membership, exhibit preference, age, attendance, annual contribution. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- planning stages for corporate memberships, proposed fees, privileges, etc., counsel from other US art museums, list of corporations to be approached about the idea, etc. Dates- 1946- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Corporate membership drives, presentation to J.C.'s, excerpt from Newsweek. Dates- 6/60 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison. Subject- Members art studio classes and lecture series. Dates- 6/54 - 9/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 6/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 9/54-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and R. Velz. Subject- memos regarding segregation and other policies at the Museum. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison, L. Cheek and R. Velz. Subject- Miscellaneous information concerning collections in general: treatment/condition reports, insurance, loans, installations, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- Miscellaneous museum operation: Artmobile, Art Lending Service, Virginia Artists, lists of objects on loan, exhibitions, damage reports of objects and gallery inspections, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- inter-office memorandums on various subjects. Dates- 12/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison, L. Cheek and H. Glasser. Subject- Exhibitions, Pratt Collection, gallery inspections and all manner of museum operations and programs. List of lost objects on loan to the Bon Air School for Girls. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- Inter-office memos concerning insurance valuations, loans, lectures, library, exhibitions and policy on filing acquisitions data and damage reports. Date- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Pamphlets published by the state Department of Mental Hygiene and Hospitals and the Mental Hygiene Society of Virginia. Dates- 1951-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and various staff at the Metropolitan Museum. Subject- museum practices, long-term loans of Egyptian art and artifacts, securing speakers, etc. Dates- 1/55-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J. Rorimer (Dir., MET) and A. Priest (Curator, MET). Subject- Damage to MET's \"Bacchus\", objects to purchase, loan requests. Acquistions and gifts: Tibetan Scroll; Coat of Japanese Mail. Dates- 11/69 - and/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Michael Jacobs Gallery. Subject- loan of painting (George Washington by Gilbert Stuart) for inaugural exhibition. Dates- 6/35-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- Midwestern book competition for which Cheek served as a juror, competition judged in Richmond, lists of criteria and books, printed material for the competition, etc. Dates- 4/56-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Jo Mielziner. Subject- friendly letters, mention of possible Mielziner exhibition, etc. Dates- 12/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, list of stage designs available for purchase, his lecture to VMFA, schedules and agenda's, etc. Dates- 10/54 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Miller and Rhoads department store staff. Subject- showing VA artist work in store windows, borrowing supplies from the display department for the Museum (folding chairs, textiles), etc. Dates- 2/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and W.S. Rhoads. Subject- Nomination of Miller and Rhoads, Inc. for Esquire magazines 1st annual \"Business in the Arts\" award. Support of Artmobile II. Exhibition: \"Masterpieces in Millinery\", spring 1958. Preliminary outline of fashion costume requirements for VMT \"Lady In The Dark\". Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Speaker: Philip Adams. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. John M. Miller, Jr. Subject- Trustee/Museum business, Miller served as a member of the Membership Committee, etc. Dates- 6/35-7/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mr. J.G. Pollard, Jr. Subject- asking Mr. Milliken (Director of The Cleveland Museum of Art) for counseling on acquisitions, draft of an agreement where Milliken counsels the Museum staff about proposed acquisitions, etc. Dates- 3/58-3/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from B. Mills in his role as Asst. Administrator of Personnel. Subject- Records, applications, payroll, medical insurance, announcements of new employees and terminations. Dates- 9/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt and L. Cheek, Jr. and The Mint Museum staff. Subject- museum practices, loans, etc. Dates- 8/46-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- obtaining the motion picture for which the drawings in the exhibition \"Gil Wilson 'Moby Dick'\" were made. Dates- 12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- printed material for exhibition \"Modern German Art\", invitation to Mr.and Mrs. Alfred P. Jenkins for dinner and exhibition preview, (Mr.and Mrs. Jenkins owned the modern German art collection shown). Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Creation of James Monroe Bicentennial Commission. Dates- 8/57 - 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown between MAC. subject- Section 21-2 of the Richmond City Code: designation of Monument Avenue as an Historic District.  Minutes of meeting of MAC, 4/24/71 and 5/19/71.  Program Planning Task Force, editorial broadcast, roster of members, Articles of Incorporation, By-Laws, agendas, proposals and pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., and Mr. Charles Moore. Subject- Moore's application for the Director/Producer position in the Virginia Museum Theatre. Dates- 12/56-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data and his lecture tour to the VMFA. Dates- 4/53 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Georgia Watson Morgan. Dates- 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Search for candidates for public information supervisor, job requirements, resume, publicity agendas, public information schedules, Bulletin vol.20, no.3. Dates- 6/59 - 7/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Mulholland (magician), biographical data/pamphlet, his magic presentation to the Fellows and VMT. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, his address to VMFA membership concerning architectural history. Dates- 10/55 - 8/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Munn Last Will and Testament with list of objects bequeathed to VMFA. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and T. Colt. Subject- Mural competition for Virginia State Library entrance hall: selection process, general assembly commission of monument to Stonewall Jackson. Dates- 4/46 - 6/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Envelopes of photos and negatives of Pre-Columbian art objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Gallery attendance and educational groups. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for Oct. Bulletin 1954, copies of the following Members' Bulletins-vol.15, no.2 (10/54) and vol.13, no.3 (11/52). Dates-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison. Subject- working papers for Members' Bulletin Oct. 1955, VMFA calendar 10/55, etc. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for Oct. Bulletin 1955. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Design of annual Christmas cards by Virginia Artists: John Ballator, Charles Smith, John Canaday, Allan Jones, Ross Abrams, Julien Binford and Prentiss Taylor. Dates- 11/48 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns transportation for the Museum lecturers and guests 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, M. Christison and Mrs. Pollard. Subject- Inquiries from other institutions regarding museum operations, budget, services, corporate membership, Trustees, etc. Lists of purchases, Fellowship recipients. Dates- 1937 - 53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Arrival of Hollins and VCU students to work on specific projects for one month. Dates- 12/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt. Subject- Proposal and tentative plans, prospective filmmakers. Minutes of Executive Committee of Southern Educational Film Production Service. \"Motion Picture Production\": Study by H. Jeff Forbes and Associates regarding promotion of VMFA. Dates- 11/46 - 2/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Memos about various museum topics. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, V. D'Amico (Dir. MOMA), M. d' Haroncourt. Subject- Art education standards, exhibitions, loans, lectures, museum policy, juror search and Jamestown Commission. Dates- 11/55 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Head of Administrative Division), Mrs. J.G. Pollard and L. Cheek, Jr. Subject- suggested future organization of the institution, operating procedures throughout the building, etc. Dates-2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding the division of expenses between the theatre and the museum, 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Promotional literature on the VMFA. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Material deals with segregation policies at museum events. 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence pertaining to printing. Bulletin mock-ups and copies of the following bulletins: Vol.6, No.4,  Vol.7, No.'s 2and7. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper clippings and magazine articles. Photographs, press releases etc. 1955-57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Proposed budget groupings for VMFA, according to departmental divisions and table of organization. Dates- 1948 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Events, timetables, agendas, Robinson House, housekeeping, security, VMT. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Schedule of events, exhibitions, Robinson House. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Schedule of events, mailing schedules, spring agenda, Confederation Conference, Robinson House, VMT, gallery closings, Discovery Cruise: Land of Maya. Date- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Suggested talk by Pres. of Museum to guests at Safari Dinner in Medieval Hall. Dates- 1/22/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Travel package for travel to Asia, brochures, cultural travel tours. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Policy regarding loans of art works to other Museums, employment search, provenance of art objects, pamphlets, newspaper clippings, etc. Resolution: To order immediate safe return of German master works after Nazi occupation, signed by U.S. museum directors. Dates- 4/46 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Applicant search for various positions, invitations, announcements, exhibitions, etc. Press kit for the Milwaukee Art Center. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Peter Mooz. Subject- General correspondence on exhibitions, loan requests, museum business, job placement, magazine and newspaper clippings. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibitions, loans, policy. Dates- 12/60 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Schedule of music series and members of committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- schedule of program of recorded music, announcement of 6th artist evening 1/46, Museum Bulletin Vol.5, No.2, etc. Dates- 2/46-5/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Jerome Myers. Subject- acquisition of his painting: Street Scene, N.Y., his acceptance to the National Exhibition of American Art, N.Y., etc. Dates- 4/36-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown and P. Near. Subject- General correspondence to Trustees and membership, letters to Robert Neutra, exhibitions: Henry Moore, Sport and Horse. Agendas, travel itinerary, events and invitations. \"Encouragement of the Nations Arts\", an appeal to congress, and \"Proposed Federal Advisory Council on the Arts\", Hon. H. Alexander Smith, U.S. Government Printing office, Washington D.C., 3/26/57. Requests for employment, postcards, pamphlets and photographs. Artists: Jean Nikolic. Accessions and Gifts: \"Disasters of War\", Goya; \"Lore Fuller\", Raoul Francois Lanke; \"Dancing Girl With Tambourine\", A. Leonard; \"La Revre Blanche\", Toulouse Lautrec; Revere and John Andrew spoons and vase possibly made by Johannes Loetz Witwe. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Namuth's exhibit of photographs at the Brussels World's Fair, as a juror VMFA. List of Seventeen painters photographed by Namuth: Wm. Baziotes, J. Boynton, L. Calgagno, N. Carone, R. Diebenkorn, J. Ernst, S. Gechtoff, G. Hartigan, E. Kelly, W. Kienbusch, G. Mueller, K. Morris, B. Perlin, C. Marca-Relli, R. Motherwell, A. Reinhardt, L. Siegriest, with original notes by Namuth. Letter from J. Ernst with signature. Date 4/61 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Statement of purpose and future of NCA, Board of Directors, Members of Council, fellowships, program grant application. Essay- \"National Endowment For The Arts Before The House Appropriations Subcommittee On The Interior And Related Agencies Tuesday, March 14,1972\", statement by Nancy Hanks (Chair): \"New Dimensions For The Arts: 1971-1972\" Dates- 1970-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L Cheek. Subject- Bill: S. 2379, To provide for the establishment of National Council on the Arts and National Arts Foundation. \"Congressional Record: Proceedings and Debates of the 88th Congress\" Dates- 2/64 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Public-Law 85-874, S. 3335: charted by the 85th Congress to establish a bureau in the Smithsonian Institution devoted to the Performing Arts. \"Peaceful Use Of Creative Energy\": transcript of lecture given by Col. Corrin Strong at the Tri State Arts Conference 4/29/61; Report: \"The National Cultural Center Part Two: What Goes into the Center\" by Dr. Carelton Sprague Smith, 10/60. Minutes for the NCC Executive Board: 5/23/60 and 6/29/60 Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. cheek. Subject- VMFA Council sponsorship of a closed circuit telecast by NCC: \"An American Pageant Of The Arts\". Suggested text of publicity folder, invitations, Newsletter: \"Footlight\", vol.1 no.3.; \"For A Cultural Capital\", Eleanor Roosevelt, 1962, United Feature Syndicate, Inc. NCC, later to be named the \"Kennedy Center For Performing Arts\". Dates- 7/62 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exchange of ideas and experience with other institutions who use audiovisual tool to communicate with museum visitors. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters of appeal to serve on Virginia NEFTA committee, roster of members. VMFA appointed as the state agency for the administration of Federal matching funds; to aid in expanding the cultural horizons of a states and territories. \"Guidelines\" 1/67, NEA, Washington D.C.; \"National Foundation On The Arts And The Humanities, Question and Answers\", U.S. Government, Washington D.C., 1965. Dates- 1965 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Survey of membership, officers of VMFA, according to race, gender, age, position and time served. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz. Subject- Grant proposals, application, letters of support, proposal for a Regional Conservation Center, Soldiers Home, American Marine Painting, NEA statement of purpose, Museums A.S.A. Study, Museum Program guidelines, Smithsonian Puppet Theatre, Young Peoples Theatre Safari, \"American Painting 1974\" and newsletter from the Arts Reporting Service. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Financial assistance to Chamber Music Societies, season brochures, project grant application form for Va. Chamber Music Society. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Grants received by Arts/Cultural organizations in Virginia: guidelines, program committee members, agendas and minutes from the program sub- committee 3/7/68. NEFTA project recommendations for a regional conservation center. Dates- 6/76 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT survey, McLean Arts Center, guidelines for program grants. Senate Joint Resolution No. 67: to create a Virginia development study commission, bill 1483: National Foundation on the Arts and Humanities Act of 1965 and a report with guidelines for VMFA as the sole administrator of NEFTA matching grants. Study for Virginia Artist and Craftsman in regard to education and support. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Grant applications from Virginia Dance Society, VMFA, Confederation of Virginia Art Organizations and Budget proposals. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- State guidelines and general information, terms and conditions, NEA matching grant to begin statewide professional operation of VMT. Addresses of applicants for state grants, roster of Virginia NEFTA committee members. Dates- 2/66 - 6/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Regarding J.M. Brown's service on committee to evaluate grant applications. Valentine Museum NEA application, pamphlets. Date- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- arrangements for exhibition \"Designer-Craftsmen 1953\" presented in conjunction with the American Craftsmen's Educational Council, Inc., (ACEC), letters to jurors, etc. Dates- 9/52-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and National Gallery of Art. Subject- preview invitations, exchange publications, excerpts from Roosevelt Art Address (from dedication of National Gallery 3/41), loan request for VMFA inaugural exhibition, etc. Dates- 3/41-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- pamphlets and information about \"National Park and Recreation Week\" sponsored in Richmond 5/21-5/30, 1949. Dates- 4/49-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Geographical directory, \"Historic Preservation\" journal, vol.11, no.3, 1959 and Melchers Memorial. Dates- 1959 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Organization membership information form, questionnaire. NTHP certificate of associate membership 1971-73, employment placement and service pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Travel itineraries, objects for prospective traveling exhibitions, list of slides, forgeries and thefts. Accession and acquisition proposals. Dates- 1/61 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Conservation of objects/paintings, loans. Accessions committee meeting agenda, 10/69. Report on Authenticity of \"Marble Head of a Horse\", Heermaneck Ancient Iranian Collection. Exhibitors: The child and his World. Condition reports and repair estimates for tapestries. Photographs Dates- 12/69 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Sydney Lewis and Peter Mooz. Subject- Authenticity of Cycladic Harpist and 18th century American secretary. Provenances of various objects, conservation and treatment reports. Catalog: \"Arshille Gorky\" Dates- 1/74 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Sydney and Frances Lewis and Peter Mooz. Subject- Conservation/treatment reports, Artnian Collection of self-portraits. Conservation/treatment reports, Kent Independence Portfolio. List of Art Nouveau objects, damage reports, African Collection. Report of authenticity regarding the Cycladic \"Harpist\". Letter from Arnaldo Pomodoro regarding a base for \"Rotating Sphere\". Dates- 5/75 - 8/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Hours of operation, VMFA and other museums, attendance records, VMT, security, UNESCO newsletters 4/58 - 8/59, newspapers and magazine clippings, press releases. Dates- 7/59 - 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Cheek's annual N.Y. cocktail party: guest lists, arrangements, rosters of speakers to VMFA: 1951-52 and 1952-53. Dates- 1952 - 54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newsletter to Trustees concerning exhibitions and appointments to Executive Board, accessions, building, etc. Dates- 11/70 - 8/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Wm. Morrison (P.R. VMFA), F. Palmer (P.R. consultant), D. McCammond (P.R. Reynolds Metals). Subject- Public Relations of E. Newsom and Co. to conduct a study to determine the needs and potential of VMFA. Program organization, community relations, film, book press material, schedules of events, etc. Dates- 8/58 - 9/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- A survey targeting the needs, current and future of VMFA, with solutions/resolutions for every aspect of the museums' operation. Dates- 11/58 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. A. I. duPont and F. Palmer. Subject- Roster of members of Board of Trustees, letter of appeal for pledges, principal elements of Newsom Program. Dates- 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. A.I. duPont (chair, Ann. fund). Subject- Strategy to raise funds through the Trustees to finance the Newsom Public Relation Firm program for VMFA. Drafts of letters to Trustees, progress report, minutes of 25th Anniversary Committee, 9/8/59. Dates- 12/58 - 7/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- all manner of museum operation: security, policy and procedure, personnel policy. operating budget and VMT. Diagrams of electronic console panel. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Museum business, construction and installation project schedules, budget, Equal Opportunity regulations, design contract for the Council shop, salary scales. Dates- 10/73 - 1/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Museum business, Conservation Lab, Fine Arts insurance coverage, budgets, Cabell Foundation gift. \"Report on the Freedom of Information Act\". Depreciation of \"Death of Regulus\", Salvatore Rosa. Dates- 12/74 - 7/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Museum business and operations, budget, contractual agreement between VMFA and Harwicke Associates, Inc. for North Wing project. \"Organization of the Virginia State Government\". Dates- 10/75 - 11/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- UVA architect and his membership in the Collectors Circle. Dates- 1/63 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- General assistant to VMT, employment recommendation. Dates- 6/55 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Possible acquisitions from his gallery. Dates- 10/62 - 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L Cheek and J.M. Brown. Subject- Loans, exhibitions, VMT, Rotunda Club, Fellows. Accessions and gifts: \"Metamorphosis\", Grillo. Dates- 4/57 - 6/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- correspondence with individuals, institutions and companies beginning with the letter \"O\". Dates- 4/43-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, photo and job description/responsibilities as program director for \"Art Column\". Dates- 3/61 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- As a scenic design consultant, his lecture to VMT in connection with the Exhibition: \"Design For The Theatre\". College Drama Festival, biographical data. Dates- 1/60 - 2/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, P. Mellon, E. Brooks Jr., and M. Bush. Subject- Financial support: Artmobile II, building grant and museum survey to expand visitors use to VMFA. Photographs, newspaper clippings. \"A Study in Modern Giving: The Old Dominion Foundation\", reprinted from articles in Richmond News Leader. \"Bollenger Series\", catalogue of special edition books. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, M. Bush (Asst. to Pres. of ODF) and P. Mellon (Pres. of ODF). Subject- Financial assistance to VMFA, Artmobile II, collectors circle, and Old Dominion Foundation statement of purpose. Dates- 9/58 11/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Dan Olney. Subject- receiving a Senior Fellowship 1941/2, outline for a lecture, etc. Dates- 10/40-6/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Governor Thomas B. Stanley. Subject- opening of the new wing. Dates- 8/54-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- opening and reception for Governor Stanley. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- invitations and replies to the opening of the Members' Suite, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Opera Society's first season. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- miscellaneous printed materials for the Museum, etc. Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- tickets to the Museum for State Lions' Club convention, etc. Dates- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- ideas/proposals for \"Members' Room\", suggested operating procedures, menus, pricing, etc., cost estimates, \"Refreshment Room Statement\" 1955, etc. Dates- 1/55-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre operations proposals, list of staff, their duties and salaries, etc. Dates- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- lists of statewide business, civic, commercial and other organizations, invitation list for General Assembly/Governor's reception, etc. Dates- 1953-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Orloff's (Chief-interpreter of U.N.) lecture to VMFA concerning the Faberge Collection, Biographical data. Dates- 11/49 - 4/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters of inquiry to firms specializing in plaster and wood ornament, catalogs. Dates- 5/54 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator). Subject- museum practices especially concerning finances of other US art museums, etc. Dates- 4/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, P. Near and J.M. Brown. Subject- Artmobile, VMT, Collector's Circle, Fellows, Chapters/Affiliates, biographical data, campaign to restore the Jefferson Hotel, list of exhibitions from 1942 - 45.  International Exhibition Foundation, the appointment of John A. Pope (Director of Freer Gallery) as advisor/consultant to VMFA for expansion of Far Eastern Collections.  Acquisitions and gifts. Artists: Nell Blaine, Howard Kanovitz, Otto Piene. Gifts: Masson lithograph, Irving Penn photo and 15 Russian 19th century paintings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Painter's lecture on \"Armor and Medieval Man\" to compliment the \"Arms and Armor\" exhibition, biographical data. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. Nelson Parker. Subject- announcement of Board meetings, etc., Date- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Appeal to Virginia Senate and legislature regarding sufficient museum parking utilizing land belonging to the UDC (United Daughters of the Confederacy). Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Gift of Egyptian Gallery and English Decorative Arts Gallery. VMT, and her membership as a Fellow and in collector's circle. Dates- 4/61 - 10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. J.G. Pollard and Executive Committee of the Board. Subject- proposal and planning stages of conferring an honorary degree of \"Patron of the Arts\". Dates- 6/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject-housing J.B. Payne books in library of the College of William and Mary in exchange for paintings from their collection of art for display at the Museum. Dates- 1/50-4/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek's service on the Board of Trustees and on the Advisory Board of the School of the Arts. Minutes of U. of P. Executive Board, 4/8/60, 4/29/63, 4/26/65 and Annual Report of Graduate School of Fine Arts, 3/64, 5/65. Dates- 10/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek as chair of Fine Arts Committee. Subject- Letter to P. Coombs on his appointment as Assistant Secretary of State for Educational and Cultural affairs, UNESCO newsletter, Nubian archeological sites. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and A. Frankfurter (editor, Art News). Subject- VMFA general collection, list of gifts and purchases, 1955-67, scope of exhibitions, dates, publications, colorplates. List of VMFA Board of Trustees, 1962, Gobelin Tapestries. Dates- 1953 -64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Articles based on exhibitions and general collection of VMFA, VMT, invoices, newspaper clippings, pamphlets, reviews, newsletters. NEA museum programs, research education grants. Dates- 1967 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Articles of VMFA: \"A Spring View of Virginia Museum\", 10/56, Wm. Lacey, Editor; \"Art isn't Caviar at this Museum\", Sidney Shalett, 7/57, The Diplomat. Dates- 10/56 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Articles and editorials pertaining to VMFA: Newsweek, Time, Art Gallery, Antiques, Museum News , etc. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Harper's Bazaar, New York Magazine, Apollo, reviews. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Editors V. Dabney (RTD) and J. Kilpatrik (RNL). Subject- Artmobile, reviews of VMT and media coverage by print journalists, newspaper clippings. Essay- \"The Arts In The Sixties\", by L. Cheek. Dates- 11/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and F. Stewart and C. Jones. Subject- Exhibitions: \"Form Givers\", Sport and Horse\" and Mellon Collection. Dates- 2/60 - 12/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains applications, resumes and information on candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and M. Christison. Subject- Job descriptions. Dates- 1953 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison, P. Near and L. Cheek. Subject- Fellowships: list of recipients from 1940 - 1955. Prospective employees and VMT. Dates- 12/54 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- personnel rules and procedures of VMFA and the Commonwealth of VA, mandates from the Governor's office, additional personnel and pay increase requests, Roster Cards (listings of all employees and pay rates), etc. Dates- 8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr., and R.A.Velz (Administrator). Subject- listing of division duties, proposed salary ranges, information about hiring an artmobile driver-curator, etc. Dates- 2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Photographs of L. Cheek, Mrs. J.G. Pollard, theatre staff, Ariel Ballif, Vincent Bowditch, Arthur Ballet, R. Velz and P. Near. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Personnel matters. Dates- 4/66 - 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains general information about the system and ratings for museum employees. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains applications, resumes and information about candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains applications, resumes and information about the candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains applications, resumes and information about various candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from the Governor's personnel survey staff. Subject- employment questionnaire, job descriptions (buildings and grounds staff, watchman, registrar, secretary, etc.), etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and the Governor's personnel survey staff. Subject- employment questionnaire, VMFA tentative classification of positions (3/37). Dates- 10/36-4/37.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. Fiske Kimball (Director of Penn. Museum of Art). Subject- loans for VMFA inaugural exhibition, exchange publications, counsel on museum practices, etc. Dates- 5/35-5/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and R.L. Dickinson (Hanover Bank). Subject- The Library of Philanthropic Information at the Hanover Bank, New York City. Dates- 11/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- E. Turpin Phillips, a Virginia citizen and his request to see proposal plans for expanded museum parking onto UDC property. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Consultant for VMFA acquisitions. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Duncan Phillips (Director, Phillips Memorial Gallery). Subject- request for loans to VMFA inaugural exhibition, etc. Dates- 9/35-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Installation of VMFA photography department, list of equipment and supplies, employment of staff photographer: Gordon Burns. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- listing of entries to the \"19th Photographic Salon\" exhibition, schedule for jurors, etc. Dates- 3/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator) and L. Cheek, Jr. Subject- purchase requests for photographs. Dates- 10/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Ivan Dimitri as Director of Photography in the Fine Arts at the Brussels World's Fair, his service on the advisory committee, list of photographs given to VMFA from the PFA exhibition. Directors of America's Finest Museums: portraits, credo of on art and their personal selection of photographs from the PFA archives was the subject of the World's Fair exhibition. Etching by Levon West (Ivan Dimitri). Dates- 12/59 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Atillio Piccirilli. Subject- biographical information, loans of work to the Museum, etc. Dates- 7/35-1/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- viewing the feature film 'Pictura \"An Adventure in Art\"', invitations, contributions, listing of attendance, etc. Dates- 2/52-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Herman Starr (Pres. Pictura Corp). Subject- A group of films devoted to the fine arts. Presentation of \"Leonardo da Vinci\" at Richmond's Lee Art Theatre and film on Goya to accompany exhibition. Dates- 1/51 - 3/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Gallery dinner, menu, agenda, program for event. Dates- 8/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- policies on use of meeting rooms and studios, special food service, interpretative services, scheduling programs, etc. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains correspondence to and from him when he was President of the Board of Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- the VMFA inaugural exhibition, Museum events, finances, Museum Board business and bequests/gifts to the Museum, etc. Dates- 1/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- Museum operations, investments, finances and gifts to the Museum, etc. Dates- 1/37-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His service as President, Trustee and membership in the Collector's Circle. Biographical data, museum business: operating fund, Artmobile, Newsom Report, 25th Anniversary fund, Melchers Estate transfer, gifts, contributions, Fellowship Fund. Exhibitions: Sport and Horse. Dates- 9/53 - 2/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His service as a Trustee, VMFA Resident Craftsman Program. Dates- 2/64 - 2/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Design of members Bulletin, records retirement, museum business. Dates- 1949, 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Museum business, Pratt installation, museum courses and equipment. Dates- 9/54 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Gift of \"Rotating Sphere\" from Lloyd Noland. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- As founder and director of the Barter Theatre, proposed plans for Theatre Virginia and NEA funding. Dates- 4/67 - 5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr., and Mr. David Payne. Subject- correspondence with Payne about arranging the exhibition \"Portraits by David Payne\", biographical information, letter from Phillip Johnson, etc. Dates- 5/51-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J.G. Pollard, L. Cheek, Priscilla Crum (Curator, Asst. in Education). Subject- Gallery representing portrait artists, biographical data on various artists and portrait of Senator Byrd. Photographs. Dates- 6/45 - 11/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Statewide tribute to John Powell (a native of Virginia) and the presentation of his \"Symphony in A\". Date- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Correspondence with Pratt as a trustee. Discuss first Easter egg exhibition in 1949 and Hammer visit. Letter from Schaffer (A La Vieille Russie) in 1949 about lending some pieces for an exhibition. Includes a few letters from Mrs. Pratt before she died, about a Faberge table donation in 1942 and donating \"Twice Seven\" to the Library. Establishment of the Fellowship fund, including letter from Twombly as early recipient. Pratt Collection: insurance estimates and installation. Gift of funds to purchase the first Artmobile from Pratt and Miller and Rhoads. Dates- 7/40 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artmobile, Fellowship committee, underwriting of Faberge booklet, terra-cotta statue of \"Diana\" from the Pratt Estate given to VMFA, newspaper clippings. \"A Plan For Fellowships For Virginia Artists\" as suggested by Mr. John Lee Pratt. Minutes from Fellowship Committee meeting, 6/12/42. Dates- 12/49 - 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. John Lee Pratt. Subject- Trustee/Museum business, VMFA fellowship updates, etc. Dates- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown. Subject- Biographical data, fellowship recipients: Cynthia Morehead Smith, Paul Steuke, June Chapman, Fred Bonds, Richard Kevorkian and Reginia Perry. Pratt Collection: catalogue, except from forward by L. Cheek, questionnaire regarding Mrs. Pratt's initial contact/purchase sources for Russian Jewels, list of objects bequeathed by Pratt Estate. Dates- 1/57 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposals and cost estimates for Healy's Sitters exhibition and Pratt collection catalogues. Dates- 4/50-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, L. Cheek, Armand Hammer (Hammer Gallery) and Alexander Schaffer (La Vielle Russie Gallery). Subject- Legal claim against the Romanoff Family assets via the Pratt Collection of Russian Jewels. Possible lawsuit by A.G. Sharkey, President and Trustee of Marine Transport Service Corporation in NY who had judgment against Czar Nicholas Romanoff since 1918. Hammer and Schaffer dismissed it. Details of Pratt bequest, provenance of objects, announcement of bequest with sample of text to be used in pamphlet. Excerpt from \"Twice Seven\", by H. C. Bainbridge, E. P. Dutton and Co. Inc., 1934 (reference to Faberge Jewels owned by Armand Hammer). Dates- 8/47 - 10/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Mrs. J. G. Pollard. Subject- Installation, list of items on exhibition, security and transportation. List of objects in the collection of Mrs. Joseph E. Davies and pamphlets. Correspondence regarding various showings around the state - Roanoke in 1950 and Norfolk in 1951. Dates- 1/49 - 4/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from C. Humelsine. Subject- General correspondence to the VMFA membership, calendar of events, museum news. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to the media from the Museum. Subject- news releases about Museum events. Dates- 10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News releases about Museum events. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- positions and duties for volunteers and guards during an undisclosed preview. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Gov. Price. Subject-proposed salary increases, Board meeting announcements, nomination of Colt to select work to go to the Annual Exhibition of American Art 1938. Dates- 1/38-11/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- On the occasion of his being collector of the Year 1964, his cookbook including photographs of VMFA and the menu from the Collectors Gala, newspaper clippings. Gifts: Lachaise drawing. Dates- 6/63 - 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, P. Grigaut and P. Near. Subject- A. Priest as Metropolitan Curator of Far Eastern Art, his service as a consultant to VMFA (1963-69) in the formation of the Asian collections. Correspondence on examination and provenance of works in the VMFA. Minutes of Executive Committee, 9/9/63, 12/8/64, minutes of Accessions Committee Meeting, 9/9/63. \"A Buddhist Paradise\", A. Priest, AIV, 1963. Newspaper clippings, postcards, etc. Dates- 1963 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by R.A. Velz (Administrator) and Mrs. J.G. Pollard. Subject- printing schedules for 1956, miscellaneous print job specs, etc. Dates- 11/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- asking local corporations to fund the printing of school guide sheets for the Museum. Dates- 8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence pertaining to bulletin layouts, copies of Members Bulletin Vol.9, No.'s 1and7 and copies of Christmas cards 1948-9, etc.. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Museum publications: Contemporary Paintings 1946, Program Season of 1947-8, The VMFA Annual Report 1947-8, Virginia Art 1947 and Museum Bulletins: Vol.3 No.'s 1,2,4,6and9,  Vol.4, No.'s 4and5,  Vol.7, No.'s1,2,3,4,5,6,7,8and9,  Vol.1, No.8,  Vol.8, No.'s 2,3,4,5,6,7,8and9,  Vol.9, No.'s 1,4,5,6and8. Dates-9/42-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- securing a speaker (Robert T. Paine) for the exhibition \"Prints by Hiroshige\", thank you note to Mr. Paine, etc. Dates- 11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- proposed programming for the Museum. Dates- 2/49-9/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and lecturers. Subject- proposed program/events and exhibition schedule, biographical information on lecturers, etc. Dates- 10/50-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Peter Mooz. Subject- Artmobile schedules, Three-Days-In-March, members travel, grants, pamphlets. \"Proposal For The Development Of American Writers And Resources With Special Emphasis On The Production Of New Forms Of Drama Created Especially For Television\"; The Mark Report\": A survey and evaluation of VMFA statewide programs. Dates- 1974 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Safaris, Artist-in-Residence, lectures. Film series: \"The Romantic Rebellion\", exhibitions, COVA events, agendas, Professional Workshop. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt and Nancy Durett. Subject- violin recital 4/47. Dates- 4/46-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- memos to determine dates for the Trust Fund Orchestra to perform at the Museum. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison and L. Cheek. Subject- VMFA educational services, VMT and all manner of print and broadcast media promotion. Exhibitions, publicity schedules, press releases and newspaper clippings. Dates- 9/50 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General invitation to groups to participate in VMT. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Prospective givers: foundations and individuals. Date- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newsom Report: \"A Report To The Virginia Museum Of Fine Arts\", 11/19/58, Earl Newsom and Company, a study of VMFA public relations, information and communications responsibilities. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Various outside publications mentioning VMFA, 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Design and production of AIV: promotion, organization, printing schedules, contributors , etc. Catalogue \"Architectural Drawings in Virginia\" and \"\"Confessions of an Ex- Elitist\", M.W. Fishwick, Popular Culture Association, American Studies Institute, Lincoln University. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- photo of the Museum and of the \"Brussels Tapestry Exhibition\" 1949, Museum publications: VMFA Catalog of Paintings 1938, The Collection of Catesby T. Jones, 1948, and the following VMFA Members' Bulletins: vol.10, no.'s 1-5, etc. Dates- 1938-1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- copies of the following publications: The VMFA Annual Report 1947-8, The T. Catesby Jones Collection, Contemporary American Paintings 1948, William James Hubbard, Three Virginians Behl, Hunter, Blaine, Portrait Panorama, Program Season of 1947-8 and Member's Bulletins: Vol.1, No.8, Vol.8, No.'s 2,3,4,5,6,7,8and9. Dates- 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release, jurors. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing the Parsons gift of the Egyptian Gallery and 25th Anniversary Fund Committee. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitations to the VMFA's 25th birthday celebration for the affiliates, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- press release announcing loan of Chinese wine vessel. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 25th Anniversary projects, press release: message from the President (Robertson). Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Appeal to Trustees for contributions to the Drama Festival.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: 28th Virginia Artists Rotating Exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing a network of local art centers and museums affiliated with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- VMFA as regional jury center for the national exhibition \"Designer-Craftsmen-U.S.A.\", news releases, information on obtaining a jury and a speaker, etc. Dates-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Va. Architects, Photographers and Designers, seminar for Historical Administrators, VMT and Virginia Composers Concert. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release and photo for first issue of AIV. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release on Arts in Virginia. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains a cover letter for a mailing, no date. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing 25th anniversary events, exhibitions, VMT, etc. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing conclusion of 25th anniversary celebration with the presentation of awards to Colonial Williamsburg, The Old Dominion Foundation, sculptor: Carl Milles, architect: Eero Saarinen, collector\" Robert Lehman and Naval designer: William F. Gibbs for their outstanding contributions to the Arts in Virginia. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- obtaining the exhibition \"Built in the U.S.A.\", presenting programs related to the exhibition, biographical information on Phillip Johnson, etc. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- photo of \"Little Triton\" fountain for the Bulletin, copy of Members' Bulletin vol.15, no.1(9/54), etc. Dates- 9/53-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for Members' Bulletin. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- working papers for Members' Bulletin, calendar of Museum events. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Vol. 13 no.'s 1-9, 1952-5/53; vol. 17 no. 8, 2/57; vol. f19 no.'s 7 and 8, 3/59 - 4/59. Biographical data on Iren Marik, pianist, and reviews. Dates-1952 -53, 1957, 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Vol. 20 no.'s 4-6, 12/59-2/60 Dates- 12/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press releases: Tours organized through Virginia Federation of Women's Clubs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press releases: season opening production and call for volunteers. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Extended performances of VMT's \"Carousel\". Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Bus trips to VMT. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- listing of certificate winners and a gallery guide from the \"Virginia Artists\" exhibition 1955. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Portions of VMT concert to be broadcast with commentary and explanations of technique. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Programs and photographs. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Information regarding the Museum's chapters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- photographs [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing festival with guest artists: Helen Tamris and Daniel Nagrin. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Critic, Stella Adler, Speaker: Alfred de Liagre. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- TV news film of highlights of the College Drama Festival, script, telegrams and surveys to Virginia TV stations concerning air time and usage. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Announcement of individual participants announcing their attendance in the festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- loan of Cone collection from the Baltimore Museum of Art to VMFA for an exhibition, a catalogue of the Cone collection, news release about the  bequest of the collection to the Baltimore Museum of Art, etc. Dates- 10/49-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Public information schedule for exhibition: \"The Architecture of Skidmore, Owings and Merrill\", \"The Little International\". Artmobile public and information schedule and Bulletin, vol. 19, no.2 10/58. Essay- The Little International Exhibition\", Fred Olsen, 4/57. Dates- 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Publicity stills, reviews and biographical data.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- list of designers proposed for inclusion in the exhibition \"Design for Theatre\", tentative list, etc. Dates- 8/52-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing loan of painting by Winslow Homer. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Evaluation of the Discovery Television Series sponsored by the San Francisco Museum of Art. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Statewide Press Release announcing fellowships 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press Releases regarding fellowships 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Publicity stills and posters. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Buckminister Fuller. Subject- Exhibition of the work of 13 leading architects, opening lecture given by Buckminister Fuller, list of catalog content, gallery talk, press release, invitations and biographical data. Photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing formation of a fundraising committee for the 25th anniversary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibitions: \"Drawings From Five Centuries From The Cooper Union Museum\", \"Hans Moller\", \"Is Photography An Art\", \"Sport and the Horse\", \"25th Anniversary\". Parsons gift of the Egyptian Gallery, Chamber Music Society, Virginia Artists, evening hours, speakers/lecturers, Virginia Art Alliance, state services, Fellowships, Search for a female collector with a collection of Imperial robes. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press releases announcing exhibition of contemporary glass. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibitions: Skidmore, Owings and Merrill (AIA for Reynolds Building), publicity, progress report on exhibition arrangements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Ivan Dmitri. Subject- Symposium on photography conducted by Dmitri with a panel composed of: A. Hyatt Mayor (MET) and Hilton Kramer (Arts Magazine). List of paintings and photograph comparisons and press releases. Photographs. Dates- 10/59 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Status report of the Broadway production. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information about the loan exhibition. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Speaker 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: History of Lynchburg Center published in the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Brief film on masterpieces of American silver, script and outline for the 25th anniversary program. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains press releases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains layout and planning for the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Photographs of the moving of art objects, installations, physical plant and behind-the-scene workshops and people.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Editorial Writers, agenda, and guest speakers, exhibitions, events, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Ms. Nemone Balfour. Subject- a ballad concert given by Balfour sponsored by the Museum, new release, printed material, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: R. Neutra lecture in coordinate with his VMFA exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- invitations to grand opening of the 10/54 VMFA addition. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing the Norfolk Museum affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Bus tour and photograph. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Photographs of galleries. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing gift of marble statue \"Dawn of Young Womanhood\", Oronzio Maldrelli from Miller and Rhoads Department Store. Press releases from: Mariners Museum, National Gallery, Henry Ford Museum, Walker Art Center and the MOMA. Dates- 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: purchase of Patronship by Richmond businesses for season tickets to VMT.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- radio transcripts and publicity releases. Dates- 1948-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases. Dates- 8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases, publicity schedule 6/26- 7/22. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases. Dates- 5/56-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases. Dates- 4/51-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to media from the Museum. Subject- News Releases. Dates- 1952- 5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press releases for various museum events: theatre, exhibitions, films, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Affiliation announcement of the Roanoke Fine Arts Center 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing the loan of \"The Ecstasy of St. Francis\" by Carravaggio. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- press release announcing the acquisition of a rare funeral monument from 2nd century B.C. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Advertising copy and selection of artist to draw a cartoon. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- press release for VMT promotion. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release announcing special schedule to accommodate bus trip from out of town. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Publicity schedule and advertising copy. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- scheduling a speaker (Bernard V. Bothmer) to coincide with the exhibition \"Smith's Egypt\", photo and biographical information about Bothmer, etc. Dates- 6/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition and Publication information regarding \"Sport and the Horse.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- News Releases regarding newspaper column 1960. The column was carried in 50 Virginia newspapers as 42 weekly articles by Cheek. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Syndicated column written by Cheek as part of a promotion for the Museum's 25th anniversary. Contains a mailing schedule for the column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Return forms from newspaper publishers regarding column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Promotional letter for newspaper column. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Broadcast script for performance promotion. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from G. Friddell (Public Information Director). Subject- controversial nature of the \"American Painting 1950\" exhibition, James Johnson Sweeney was the juror for this exhibition, Sweeney biographical information, News Releases, exchange/gift publications of the catalogue to this exhibition, etc. Dates- 1/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Broadcast script promoting 25th anniversary year. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 25th Anniversary, broadcast scripts, VMT and list of Virginia and Washington TV stations. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Broadcast promotion script. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- press release with performance information  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release for VMT promotion. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release concerning a 25th birthday year magazine, the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Press release: Tours arranged by Virginia Federation of Women's Club in 6 Virginia towns to see VMT production of \"Carousel\" Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Reviews of show. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Introductory speeches. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"The Tempest\", \"The Mad Woman of Challiot\", \"Berkeley Square\", \"I Remember Moma\", \"Noah\", \"Blind Alley\", \"The Devils Disciple\", \"High Tor\", \"Oh Wilderness\", \"Private Lives\", \"The Petrified Forest\" and \"Victoria Regina\". Dates- 1955 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Assigned design projects and newspaper clippings. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- National broadcasts focusing on topics of national interest, VMFA requests for financial assistance to host a \"Meeting\", pamphlets and photograph. Dates- 1953 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Aubrey Bodine and Gordon Bunshaft, biographical data, Competition promotion, preliminary text for official entry forms, press release. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- list of pieces included in the \"Virginia Artists 1953\" exhibition, list of purchases made from the exhibition, information on the jury and on purchase prizes, letter from Jacques Lipchitz, etc. Dates- 12/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information about the exhibitions and photographs of the artists and their works. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Jurors: Richard Lippold, Isabel Bishop and Perry Rathbone. Press release announcing event.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Eighteenth annual exhibition held at the Museum and sponsored by the Camera Club of Richmond. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- fountains that flank the Museum's front entrance. Dates- 9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- photo of conservation lab, gift and exhibition of the Williams collection of art at VMFA, announcements to and articles in major art publications about the gift of the Williams collection. Dates- 3/52-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition \"The American Cartoon\", original American cartoons from the collection of Mr. Art Wood, invitations and R.S.V.P.'s to exhibition preview, photos of some of the pieces of cartoon art, etc. Dates- 5/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Wm. Quillan Jr. (President of Randolph Macon Women's College). Subject- Loan of Randolph-Macon's collection of paintings. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Isobel C. Lee (Steuben Glass). Subject- Loan from Queen Elizabeth, installation, lighting and press-release. Dates- 7/10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artmobile, AAM, Jamestown Foundation, loans, Accession, gifts, biographical data and resumes. Exhibition: Randolph Macon Collection. Letter from Richard Rogers to lecture to VMT, Reston Foundation: Minutes of the Executive Meeting, 9/12/60. Dates- 9/60, 5/62 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown and P. Near. Subject- Loans, contributions, acquisitions, exhibitions and Africa Gallery. Dates- 1/68 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to W. C. Cottrell (Elec. Corp.). Subject- Proposal and technical information for Audio-Guide radio-lecture, pamphlets, blueprints/plans of galleries. Dates- 5/72 - 8/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, Priscilla Crum and M. Christison. Subject- Broadcast of Biennial Jury, notes from WMBG broadcast, 12/6/46, \"What Is Your Art Museum\", participants: Priscilla Crum (Curator of Education), Edward Davis III (Curator of Decorative Arts) Mrs. J.G. Pollard and T. Colt. Notes from WLEE broadcast, \"Know Your Museum\": a weekly series with guests from the local arts community and \"For Parents Only\": a children's radio program. Dates- 2/46 - 11/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- radio talk shows and transcripts. Dates- 12/37-9/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mr.and Mrs. Robert C. Randolph. Subject- the loan of a portrait of Wm. Henry Harrison by Rembrandt Peale to the Museum for the inaugural exhibition and an additional later loan. Dates- 9/35-11/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, L. Cheek and Mary F. Williams. Subject- The service of Beatrice Von Keller as VMFA Acting Director during Colt's military duty. Biographical data, Randolph-Macon Collection including the acquisition of the Bliss Collection. Dates- 7/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Hours of operation, policy, menu. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and the Frank Rehn Gallery. Subject- loan of paintings to inaugural exhibition of VMFA and later proposed acquisitions from the Frank Rehn Gallery, etc. Dates- 9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt. Subject- Artist from West Virginia: application and recommendation for a Rosenwald Fellowship by T. Colt. Dates- 6/49 - 10/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Rennolds' service as a Trustee and entertainment committee. List of objects in the home of her mother, Mrs. John Kerr Branch, that may be of use to the VMFA. Dates- 1/53 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Policy and requests for rental of museum meeting rooms. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposal for state/federal funding for the creation of the \"Latrobe Theatre\" (never built), a professional theatre organization. The design of the Theatre was based on plans by the 19th century architect Latrobe. \"The Virginia Museum Theatre\", statement of facts in relation to charges appearing in the Richmond Times - Dispatch, 10/13/66. Subject- 8/65 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of requests and general correspondence. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison, Edward Kallop and L. Cheek. Subject- Inquiries concerning specific artists, objects, valuations, conservation/restoration, etc. Dates- 6/56 - 6/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- L. Cheek served on the Board of the Reston Foundation Community Program, includes roster of board members. Dates- 11/10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to the Executive Director of the Reston Fund. Subject- L. Cheek's membership on the Board, and proposals for development of the Reston Community, low-cost housing, maps, agendas, Reston architects, Minutes of Annual Meeting- Reston Community Foundation,12/15/64, 4/25/65, 11/12/67, 4/8/68. Dates- 6/65 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- VMFA membership and letter of condolences to the Reynolds family. Dates-10/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. cheek. Subject- R. J. Reynolds service as Chair of VMFA promotion and development committee. suggested organization agenda for the meeting of the Public Relations Development Committee, to further the advancement of VMFA. Contributions, invitations and photographs. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"R.S. Reynolds Memorial Award\", awarded annually to the architect or group of architects who make the most significant contribution to the use of aluminum, aesthetically or structurally, in the building field. Theodore Rozak chosen to commission the first sculpture. Dates- 5/58 - 11/6 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Miss Katherine Rhoads. Subject- a bequest to the Museum. Dates- 5/35-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from G. Martin (Secretary of VMFA). Subject- Rhoads Medal awarded to persons who have made a notable contribution to Art in Virginia; list of recipient, excerpts from the Minutes of the Executive Board, 5/25/69/. Biographical data on Concetta Scaravaglione, designer of medal. Medal awarded to Walter Spencer Robertson. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence to and from Rhoads as Vice-president Board of Trustees. Dates- 1934-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Contributions to a purchase fund in his memory. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt, L. Cheek, Mrs. J.G. Pollard and P. Mellon. Subject- Museum business, exhibitions. Pratt Estate, John Barton Payne Endowment, Resolutions in memory of Judge Payne, resignation of Colt, Fellowships. List of employees and job descriptions. List of Benefactors, Patrons and Life members, Board of Trustees, Rockefeller Foundation, segregation, contributions, gifts and accessions, including Mellon. Dates- 11/40 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, W. Robertson, Mrs. J.G. Pollard and W.S. Rhoads. Subject- General letter to membership from the President (W.S. Rhoads), Webster S. Rhoads Medal, Artmobile III and South Wing. Dates- 1951 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- General Museum Business, VMT, policy regarding expense accounts and museum entertaining. Dates- 5/57 - 11/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitation list, invoice for cocktail party honoring W.S. Rhoads. Dates- 5/8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Westwood Winfree (Pres. RAA). Subject- Winfree's participation in the Virginia Rotating Exhibition and other events. Requests for restructuring of jurying procedure. \"Reasons For Suggesting A State-Wide Artists Study Committee To Be Sponsored By The Virginia Museum Of Fine Arts\". Dates- 2/56 - 9/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- Richmond Chamber Music Society programming seasons: 1950-1, 1951-2, 1952-3, 1953-4 and 1954-5, membership rosters 1951-2 and 1954-5, etc. Dates- 10/50-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed policy for relations between VMFA and Richmond Chamber Music Society (conducting events there), listing of Society members, etc. Dates- 1/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- To increase Jaycees interest and support of VMFA. List of member organizations. Certificate to L. Cheek as a member of the \"Civil War Centennial Committee\", Minutes from the \"Society of Architectural Historians,1/30/58. The presentation of the \"Distinguished Service Award\" to L. Cheek. Dates- 11/60 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Disturbances in area of Westmoreland Place (Cheek residence), Cheek's Anniversary Party. Presentation of Canal Locks to Mayor M.M. Crowe. Dates- 2/64 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Field trips taken to the museum by schools throughout the state, 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Broadening cultural horizons in Richmond, proposal for Civic Center in downtown Richmond and the necessary steps for improvement of downtown, editorials, newspaper clippings. \"Plight Of Museums Is Very Real\", L.J. Ahlander, 11/25/65, Washington Post, \"Activities Center Study For The City Of Richmond\", Wm. A. Briggs A.I.A. and B.R. Johns A.I.A., Associated Architects, 8/1/64, \"Modern Living\", 11/6/64, Time and \"Are Most cities Too Ugly To Save\", 11/30/64, U.S. News and World Report, Inc. Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains financial statements for the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- proposed relationship of The Richmond Film Society with the Museum (use of Museum facilities), Film Society programs 1951-2, 1952-3, 1953-4, 1954-5 and 1955-6, etc. Dates- 6/50-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters of compliment to editors and journalists of Virginia periodicals regarding VMFA. Dates- 7/58 - 19/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Priscilla Crum, T. Colt, L. Cheek and M. Christison, Theresa Pollack, H.H. Hibbs and Mrs. J.G. Pollard. Subject- Exhibitions and musical programs. Dates- 9/45 - 11/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, J. Schaeffer (General Manager, RSL) Subject- Opening performance and concert dates. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Gala opening event of Artmobile. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and L. Willock (Exec, Dir.). Subject- Renewal of Affiliate members. Dates- 1961 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Charter proposal for a Roanoke museum and minutes from the Roanoke Fine Arts Committee. Dates- 12/47 - 9/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Special building committee, draft of letters from Affiliates/Chapters in support of VMFA expansion to be sent to the House Appropriations Committee , members of the Senate and members of the State Finance Committee. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and E. Will (Pres.). Subject- Purchase of \"St. John the Baptist\", Rodin, in memory of W.S. Robertson. Dates-2/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artmobile proposal, museum business, exhibitions: \"George Stevens Makes A Film\". Fellows organizing campaign, selected list of paintings in VMFA permanent collection. Rosters: Members of commission of State Capital and Outlays and Means of Financing; VMFA Executive Officers and committee's. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter from the President to the membership (W. Robertson), grant proposal for North Wing architectural plans.  List of objects needed for VMFA collections.  Rejection of the north facade by the Arts Commission.  Schedule of events, newspaper clippings.  \"Connoisseur's Comments\", guided VMFA tours narrated by world-famed collectors, critics and curators.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- letter of interest in erecting a monument to Bill Robinson. Dates- 12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Rockefellers' membership in the Fellows and their subsequent donation to aid in the Drama Development program. Dates- 1955 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Charles Fahs (Dir. Rockefeller Foundation), W.S. Rhoads. Subject- Proposal for the formation of VMT with initial funding from the Foundation, \"Charter for the Rockefeller Foundation\": Statement of purpose and methods of operation. Dates- 1/50-12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt and Roman Bronze Works Inc. Subject- casting busts of Gov. Pollard and Judge Payne and casting other figurative groups. Dates- 9/35-1/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter of authentication. Dates- 4/60 - 8/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Addresses made by F.D. Roosevelt upon the opening of the Museum of Modern Art. Dates- 6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Matilda McCord Roper (Mrs. George W. Roper). Subject- donations. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, expansion of VMFA print collection, The Alverthorpe Collection, loans of prints. Dates- 8/65 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA as recipient of a rose garden by the Garden of the Patriots. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- M. Ross as VMFA advisor, on retainer, for Byzantine and Medieval acquisitions. the Heeramanecks and Hunt Collections. Dates- 9/65 - 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data and brief history of Rothschild family. List of paintings in VMFA from Rothschild Collection. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Text and pamphlet for the opening of the Melchers Room. Photographs. Dates- 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Edward B. Rowan. Subject- mural competition for post offices in Petersburg, Hopewell and Richmond. Colt acted as chairman for a regional committee to carry out this competition for the Procurement Division, Public Works Branch of the Treasury Department, etc. Dates- 3/30. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- securing a speaker (Mr. Everett Parker Lesley, Jr.), obtaining a transparency from Time magazine of one of the Museum's eggs, etc. Dates- 3/53-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- General correspondence to Trustees regarding Museum business and events. Photographs and slides. Date- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- General correspondence regarding loans, acquisitions and invitations. Dates- 1/62 - 11/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Eero Saarinen. Subject- Aline Saarinen broadcast on the VMT Shakespeare Preview. Drawing. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibition: \"Master Drawings\", with lecture by Paul Sachs. Theft of Degas drawing on loan to VMFA from the Fogg. List of London and Paris art dealers. Dates- 5/51 - 6/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- letters from other U.S. Art Museums about staff salaries and Curator's Report activities from the 1st season 1/16-5/24 1936. Dates- 1936- 7/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Requests for purchase of cases from the Greek Gold exhibition. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Form letters: members, advertisements, donors, other institutions regarding loans, lectures and publication requests, etc. Dates- 1967 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Samuels gift of building for the Front Royal Library. Loan and cleaning of \"View Near Oxford\" by Richard Wilson. Dates- 4/52 - 9/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- 10th Miller and Rhoads Women's Forum; invitation to Philip Johnson to serve as a speaker. Biographical data on James Parton and Max Abromovitz. Dates- 8/51 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Hans van Weeren-Griek. and Concetta Scaravaglione. Subject- exhibition of her work and insurance of a piece that was damaged. Dates- 9/40-7/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Events and mailing schedules. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Events and mailing schedules, Paul Taylor Dance Tour, Safari-Dinner, agendas, etc. Dates- 7/70 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Appraisal of an agate cup belonging to Mrs. Paul Mellon as a work of art, for the Customs Commissioner. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- war-time high school art exhibition held at Miller and Rhoads department store, list of hostess for this event. Dates- 1943-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Invitations and general correspondence regarding the opening's of new art centers/buildings of various institutions, anniversary celebration, National Presentation Broadcast of Artmobile. Dates- 9/60 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.G. Pollard. Subject- Loan of items in his Collection to VMFA and his service as Vice-President. Exhibitions: American Contemporary Prints and Sport and Horse. Melcher Estate, accessions and acquisitions, list of gifts to VMFA. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Scott, Horner and Mason, Inc. Investment Securities in Lynchburg, VA. Subject- possible investments by VMFA, financing the new wing and the possibility of matching a Public Works Administration grant. Dates- 5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Seay collection of Decorative Objects, list of objects in Seay home. Dates- 1/39 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper clippings and letters to and from Leslie Cheek. Dates- 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Service reports on traveling exhibits. Dates- 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence about slide loans. Dates- 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Museum Services. Correspondence regarding loans 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Houdon statue of Washington on loan to VMFA, insurance valuation. Seymour's lecture on \"Houdon in America\" and panel discussion on contemporary sculpture. Opinions on dating and provenance of VMFA objects. Dates- 5/50 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Shalett's articles on the VMFA for the \"Saturday Evening Post\" and \"The Diplomat\" Dates- 8/56 - 10/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, letters of invitation to VMFA events, College Drama Festival. Melchers Estate: \"The Last Supper\", newspaper clippings and postcards. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Virginia Film Society, Dance Tour, VMT: job descriptions, Table of Organization, staff hours, Theatre Associates and Annual Theatre Train. Date- 4/66 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Agenda and events for Entertainment Committee, loan of Col. Anderson bequest items. Dates- 1/59 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and E. Shiflet (Sec. of Education). Subject- budget, museum business, financial profile, role of office of Education and pamphlets. Executive Order #20 and #21: Reassignment of VMFA to the Office of Education. Dates- 8/72 - 12/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Dealer in antique English silver and his gift to VMFA of a silver teapot. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT, juror search, biographical data, exhibition catalogues, loans of art work, accessions, gifts and general museum business. Dates- 1956 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- General correspondence, exhibitions, requests for publications, pamphlets, invitations, exhibition catalogues, A.D. and W.C. Williams Trust Fund. Photographs. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- paperwork authorizing R.A.Velz and W.J. Rhodes to sign vouchers and checks, list of Virginia Museum Theatre expenditures 1956-7. Dates- 2/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Blank stationary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- excerpts from Virginia Architecture exhibition catalogue, miscellaneous correspondence about catalogue,  etc. Dates- 11/58-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- compliments on exhibition \"Architecture in Virginia\", thank you notes to the Museum about exchange/gift publications of exhibition catalogue-Architecture in Virginia 1776-1958: The Old Dominion's Twelve Best Buildings, etc. Dates- 9/58-4/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- biographical information on various 20th century architects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- G. Smith (architect, writer and photographer), biographical data, and his collection of Travel Posters. Newspaper and magazine clippings, invitations. Application for Fulbright grant. Dates- 2/52 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Her membership on Executive Board, donation and contributions. Dates- 5/51 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mrs. Marrow Stuart Smith, Virginia artist, correspondence with museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of alumnae in Virginia. Dates- 9/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, M. Christison, and Mrs. J.A. Pope (International Traveling Exhibition Service). Subject- Exhibition: \"Swedish Textiles Today\": catalogue, pamphlet. Brussels World's Fair, U.S. Pavilion. Catalogue of Traveling Exhibitions for 1961-62. Dates- 4/53 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- S.A.H Directors meeting in Richmond, formation and organization of a Virginia chapter: agendas, lists of prospective members, directors of S.A.H., minutes from S.A.H. meeting. Dates- 12/52 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Meeting agendas, Architects Virginia Tour, preservation of the National Capitol, Shirley Plantation, landmarks in danger. Proposal to coordinate the activities of the SAH with AIA and the National Trust for Historic Preservation in the field of Historic Buildings Preservation. SAH: Minutes of Executive Board, 10/26/57, 5/17/58, 10/18/58, Treasurers Report, 1/58-4/58, Newsletters. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Lists: Fellows, Staff and Board of Trustees. Invoices, receipts and newspaper clippings. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Dinner schedule, agenda and pamphlet. Dates- 5/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Confirmation for Dinner event and agenda. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Fall meeting to be held at VMFA, conference agenda, mailing list and pamphlets. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Meeting agendas, events schedules, attendance rosters, officers, newsletters, registration forms. Report of SEMC '72 meeting, \"SEMC Notes\", no. 1, 1974 and no.1, 1975. Dates- 1972 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- printed material for exhibition \"Southern Exposures\", the following essays: \"Coming of Age of Photography\", \"Down the First Century of Photography with George and Heutis Cook\", \"Concerning the Cook Collection and Its Recovery of the Epos of the Attic\", etc.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Williamsburg International Assembly Speakers, biographical data: Edward Downes, Charles Seymor, Harris Prior and Arthur Drexler. Dates- 1951 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Wm. Gaines. Subject- Biographical data of speakers: C.V. Donovan and Joseph Curtis Sloane. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- printed material for the opening for prospective members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Safari Theatre Dinners, loan exhibition previews, maintenance. Dates- 1967 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Essay- \"The Art Museum As A Community Center\", by L. Cheek. Pamphlets, newspaper and magazine clippings of other museum programs. Date- 1961 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- early interest and planning of the exhibition \"Sport and the Horse\", etc. Dates- 5/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Frederick Robinson (Dir., SMFA). Subject- SMFA exhibition of Virginia Artists. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibitions, security, general operations and museum business. Employee policy, regulations, salaries, etc. Dates- 1962 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- General Museum operation, exhibitions, publicity evaluation, landscaping of Confederate Chapel, loan exhibition previews. Dates- 1963 - 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Employee policy/regulations, programs division, collection divisions, staff information and table of organization for Theatre Arts Committee. Newspaper clippings and salaries. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Suggested structure of staff organization and salary scales. Dates- 2/54 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA By-Laws 1958 and 1959, income sources, proposed improved operations plan. Salary information from the Smithsonian Institution. Job description for Assistant Administrator. Date 1959 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Head of Collections Division and Education Supervisor, Program Division. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Business meeting and reception regarding architectural improvements, gifts and loans to the State Department reception rooms. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- reception for General Assembly Wives. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Service reports for loans of exhibits, films and slides. Dates- 1951-1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for information regarding circulating visual materials 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Non-member requests for exhibitions 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Non-member requests for exhibitions 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Non-member Requests for gallery visits and lectures 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Out of state inquiries about Museum services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Out of state inquiries about Museum services 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of prospective organizations for using extension services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Requests for circulating visual materials and exhibitions 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General Correspondence Traveling Exhibitions 1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains information on the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains statement for addenda to the Governor's report concerning the VMFA.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between L. Cheek, Jr. and Mr. Saul Steinberg. Subject- exhibition of Steinberg's work and lecture by Steinberg, etc. Dates- 8/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Opening of new auditorium, purchase of pianos and price lists. Program for the Chamber Music Society, newsletters from Steinway and Co. , 4/55-6/55. Dates- 4/55 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Philip N. Stern, Chairman of the Art Commission, Commonwealth of Virginia. Subject- Art Commission meetings, funds for museum equipment, funding from the Public Works Administration, architectural exhibition, etc. Dates- 7/35-10/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Steuben correspondence with the VMFA, 1938-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Ten Talents In the American Theatre\", Ed. David Stevens; \"Theatre For Art's Sake\" by L. Cheek. Proposal to the Rockefeller Foundation for financial support of VMT. Dates- 12/49 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and P. Near. Subject- Her gift of \"La Signora in Biege\", Lazzaro Donati. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, preliminary design program for South Wing Addition, letters to other museums regarding design, security and general building functions. Dates- 1948-49, 1962-63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Jas. N. Trevillian (Secretary). Subject- Conductor of the New York Philharmonic Orchestra, concert at the VMFA and program. Dates- 1947 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between VMFA and Gordon E. Strause, 1935-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Strause and various Museum staff. Subject- exhibition of his collection at the Museum, written complaints by Mr. Strause, Strause is named 1st honorary benefactor of the Museum by the Board of Trustees. Dates- 3/36-5/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J. G. Pollard, T. Colt and L. Cheek. Subject- Lewis S. Strauss, founder of the Albert Einstein Award (for achievement in Natural Sciences). Chairman of the Atomic Energy Commission, his service on the VMFA Finance and Membership committees. Letter of Henry Anderson regarding discussion with Paul Mellon and VMFA expansion potential. Newspaper and magazines clippings, Artmobile, gifts and contributions. Dates- 1945 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Fellows: theatre Orientation, general meetings, prospective Fellows, report of the Fellows 5/3/67. Date- 1965-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- As a Trustee and member of the development committee. Contributions. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Mr. William A. Stuart. Subject- Trustee/Museum business, etc. Dates- 7/51-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Julia Sully to the Museum. Subject- Virginia Art Index. Dates- 1935-48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and J. McGee (Sunrise, Pres.). Subject- \"Sunrise\", Charleston Cultural complex, budget analysis, roster of Executive Board, Annual Report, 1971, pamphlets. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J.G. Pollard, T. Colt and L. Cheek. Subject- Early correspondence concerning museum services, statement of purpose, Pratt Bequest, exhibitions and requests for publications. Dates- 7/45 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- General correspondence, request for publications, employment, Fellows, Russian Loan Bill, gifts, contributions, biographical data. Dates- 6/56 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Museum business, loans of art works, list of objects for long term loan, zoning ordinance. Paul Tishman Collection, Troubs Collection of Russian miniatures. Provenance of St. John the Baptist, Rodin. Pamphlets, brochures and press releases. Dates- 2/70 - 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. J.G. Pollard, M. Christison, John Canaday and Maurice Bonds. Subject- Informal discussion series on art, artists and technique. Topics: Lithography, sculpture, restoration, art history etc. Includes biographical data on lecturers and exhibitions. Excerpt from \"American Silversmiths and Their Marks II\", by Stephen G.C. Ensko. Dates- 9/48 - 3/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding Mrs. A.I. duPont's gift of tapestries to the VMFA and a subsequent exhibition, 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding taxes on honorariums, admissions and rental space, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA series of weekly TV programs, list of suggested topics, program guests, resource information from other Institutions, film rentals, television presentation of the 25th Anniversary and minutes of the Mayor's Committee on Educational Television, 11/11/53. Dates- 3/54 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from M. Christison. Subject- The development of a public television station to be shared by educational institutions. TV question and answer scripts and newspaper clippings. Dates- 1/49 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper and magazine clippings. Dates- 1961-62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Salary scales, job openings at VMT, applicants, referrals, biographical data, financial statements, staff tors and guest speakers. Dates- 3/58 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Morton Thalhimer. Subject- Biographical data, production, general theatre administration and Ford Foundation Fellowship Grant. Dates- 5/58 - 7/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Basil Langton. Subject- Langton's service as VMT guest director of \"The Tempest\", in celebration of the Jamestown Festival; program and procurement of professional actors. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Wm. Thalhimer Jr. Subject- Exhibit: \"Habiliments for Heroines\" underwritten by Thalhimers, VMT: \"Lady in the Dark\", Lorren Aldrich Collection. Catalogue: \"The Helena Rubenstein, Princess Gourelli Collection\", Deluca, Editore Roma, June 1953. Dates- 11/51 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His service as a Trustee and Chair of the Theatre Arts Committee on theatre and Television, museum business, salary scales, general operation of VMT, budget, income, newspaper clippings. Contributions and gifts. Dates- 6/52 - 3/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Underwriting of Mediterranean court, plants and flowers. Gift of Sandwich glass. Dates- 5/55 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Thayer's service as special assistant to the Secretary of State for Cultural Affairs. Biographical data, UNESCO, ICOM, International traveling Exhibitions, placement of American works of art in United States Embassies. Dates- 5/59 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Committee Minutes 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Committee minutes, agendas and programs, box office grosses etc. Letter from Paul Mellon. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- Establishment of a theatre Collection by Louise Branch of drawings, scenery and costumes. Dates- 2/59 - 3/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Morton Thalhimer. Subject- Proposal for costume ball. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- Morale and general organization of the VMT Associates, proposed speakers, newsletter and roster of VMT Associates. Dates- 4/57 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and William Morrison. Subject- taped readings by Henry Fonda, Lee Remick and Olivia deHavilland on the anniversary celebration. Reviews and letters to other film stars. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Safari-Dinner agenda and setup. Dates- 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Reviews, gift of Dan River Mills fabrics for costumes. Programs: \"Streetcar Named Desire\", \"School For Wives\", \"Camelot\" and \"The Odd Couple\". Dates- 1967 - 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- reviews, letters of compliment. Program: \"the Royal Hunt of the Sun\" Dates- 1968 -69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program and staff hours. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Report of Acoustical Analysis for Auditorium of Virginia Museum Theatre\" Dates- 9/1950 and 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Review, performance production. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Theatre-designer: salary and letters of recommendation. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMT, Dance, Film and Chamber Music Societies: financial statements, salaries, budgets, production costs, income records, purchase of stage equipment and suggested future of organization. Dates- 2/54 - 12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- bus tours from Virginia towns for Theatre evenings, sponsors by Virginia Federation of Women's Clubs, newspaper clippings. \"The Virginia Club Woman\", vol. XXXII no. I 8/55. Dates- 1/59 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Chairman of Yale Drama Dept., his service as consultant to VMT, budget suggestions for proposed VMT, various drama activities, playbill, budgets from other University Drama departments. Dates- 1/56 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Program, letters of disagreement between directors and actors. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- The first annual event, critic and counselors: Virginia Freeman, Meriam Rosen, Dan Wagoner, Patricia Wityle. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Valerie Gettis as guest speaker/artist. Dates- 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Invitations to college Presidents. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Alan Schnieder, Speaker: Jo Mielziner. The 1st College Drama Festival, guest lists and exhibition of Jo Mielziner's theatre designs. Newsletter. Dates- 8/56 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Harold Clurman, Speaker: Norris Houghton. Events schedule and program. Dates- 4/57 - 2/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Norris Houghton, Speaker: John Gassner. Event agenda/program, brochures. Dates- 4/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Henry Hewes, Speaker: Marc Connelly, reception, production procedure, etc. Newsletter 2/60 Dates- 10/59 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Stella Adler and Speaker: Alfred de Ligre, Jr. Event schedule, festival speaker, program, biographical data, reviews. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Event agenda, scheduling, program and newspaper clippings. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Critic: Robert Lewis, Speaker: Edward Albee. Event agenda/program, brochure, pamphlet, etc. Dates- 10/56 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Original drama by John C. Collison, VMT Premiere. \"New Play in Virginia\", Wm. Morrison, Encore vol.6 ,no.5 Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and L. Cheek. Subject- Reorganization of Museum Theatre 1972-73, budget and summary of proposals. Additions to VMFA statutes and By-Laws. Theatre Committee annual Report 6/30/67. Dates- 5/67 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Contributions, minutes of Theatre Patron Campaign Committee. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- theatre Arts Committee Executive Meeting minutes 6/30/70 and 7/6/70, Rosters for various Executive committee's of VMFA. Reviews and pamphlets. Dates- 9/69 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- HEW grant to produce and circulate throughout Virginia a play during 67-68 season, suggested dramas. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibitions: \"Gibson Collection of Contemporary Italian Art\", \"Contemporary Japanese Art\", \"Ten Reynolds Sculptures\". Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, A.H. Ballet and Robert Telford. Subject- General VMT business, schedule of events, scenic design, reviews, performance, staff policy/procedure, ticket prices, season subscriptions, etc. Dates- 1955 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- College Drama Festival, Dance Society and Chamber Music Society. Performance programs, events schedules, guest director contract, pamphlets and contributions. Dates- 1959 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- General Theatre Business, contractual agreements, events schedules, Richmond Film Society, College Drama Festival, financial statements, theatre reviews and job applicants. Dates- 5/61 - 9/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- theatre openings, job descriptions, applicants, hours. Dates- 12/62 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT, Vignettes tour, general estimate of costs, Drama, Dance and Music programs.  \"Virginia Report For State Arts Agency Individual Projects July 1, 1966- June 30,1967\" and \"Performing Arts in Virginia Education\" an introductory survey. Dates- 1966 -68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Budgets, financial summary, events schedules, newsletters, etc. Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Season events, programming, budget and revenue, newsletters, list of season subscribers and press kit for the Mummers Theatre, Oklahoma City, Oklahoma. \"Constitution of the Virginia Museum Theatre Associates\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Theatre business, budgets, salaries, production schedules, invitations, program design, contracts, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Letters to and from VMT subscribers, program for \"Purlie\". Proposals for summer season productions, opening night telegrams. Dates- 1974 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Operating expense appropriation, \"VMT Sound System Report\", and synopsis of No Title play of the life of Lord Byron by Romulus Linney (later titled \"Childe Byron\"). Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Reviews. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Keith Fowler. Subject- Reviews, production calendar and letters of compliments. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Event underwritten by the Weeden Foundation. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letter of invitation, remarks after preview. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Programs. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Payment for use of two geese. Program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Financial report and program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Program, reviews, letters of complaint from theatre patrons regarding play content. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Program, search for guest director. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Review, program and editorials. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Letters of complaint and approval from theatre patrons. Dates- 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- List of series underwriters, proposal for music lecture series conducted by Dr. John White. Dates- 10/58 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Patron financial support and proposal for a Sunday lecture series: \" The Eager Listener\". Dates- 9/59 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Harpist: Nicanor Zableta, brochures of concert series sponsored by other museums and galleries. Dates- 1/50 - 1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Program Dates- 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Morton Thalhimer. Subject- General letters to theatre subscribers, brief outline of the five scheduled plays and descriptions of the major characters. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Playbills, magazine and newspaper clippings of performances in theatres other than VMT. Dates- 12/54 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Reviews and programs for \"Separate Tables\", \"The Skin Of Your Teeth\", \"Ondine\", \"Kiss Me Kate\" and \"The Kids\". Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Robert Telford. Subject- Rehearsal schedules, invitations, programs: \"Life With Mother\", \"The Limbo Kid\", \"Pygmalian\" and \"The Brothers Karamazov\". Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Reviews, letter/telegrams of compliment. Programs: \"Teahouse of the August Moon\", \"The Woman from Colchis\", \"Hall of Mirrors\", \"Caesar and Cleopatra\" and \"The Most Happy Fella\". Dates- 1962 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Reviews, letters and telegrams of compliment. Program: \"A Thousand Clowns\". Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Robert Telford. Subject- Reviews, letters/telegrams of compliment. Programs: \"The Admiral Crichton\", \"Hedda Gabler\". \"Tartuffe\" and \"No Time For Sergeants\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Reviews, letters/telegrams of compliment. Programs: \"The Comedy of Errors\", \"The Visit\" and \"Fanny\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters/telegrams of compliment. Programs: \"Androcles and The Lion\", \"The Miracle Worker\". Contributions from Dan River Mills. Photographs. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Reviews, letters/telegrams of compliment, opening night gala, Safari Theatre/Dinners. Programs: \"The Glass Menagerie\", \"Once In A Lifetime\", \"Julius Caesar\", \"Blithe Spirit\" and \"Three Penny Opera\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Reviews and Letters/telegrams of compliment. Programs: \"Charley's Aunt\", \"The Sorrows of Frederick The Great\", \"Uncle Vanya\", \"Twelfth Night, On What You Will\" and \"the Man Who Lost the River\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- Timetable, production schedules, Safari theatre Dinners, programs and reviews. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters to former subscribers seeking financial assistance for the upcoming season. Photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program and letter/telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and Keith Fowler. Subject- VMFA By- Laws 1972, Minutes of Theatre Arts Committee 10/21/71, agendas, budget and cost estimates. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Programming, policy for relations to the VMFA, contractual agreements, events schedules, promotion plans and financial statements, programs and brochures. Executive board meetings: 7/57, 11/57, 2/58, 4/58, 5/58. Dates- 4/56 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters and contributions from Chamber Music Society Patrons. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Proposal for the formation of the Dance Society, guest list, officers, policy regarding the Dance Society's relationship to the VMFA. Minutes of Executive Board, 5/11/56, 6/12/57, 7/57, 12/57. Receipt and attendance records, contributions, programs, pamphlets and guest performers. Dates- 5/56 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letters and contributions from patrons of Dance Society. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Rockefeller grant to the museum to develop theatre and a program in drama, 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Kay Rockefeller. Subject- Traveling exhibition troupe for children's theatre: financial statement and invitations. Dates- 9/57 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program for \"Rossum's Universal Robots\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT designated seating area according to race, and letters of protest in support of Dr. Mary Elizabeth Johnson. Dates- 1/56 - 5/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program and letters/telegrams of compliment. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Robert Telford and Morton Thalhimer. Subject- Attendance records, publicity program and biographical data. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters and telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Cost estimate, theatre needs and improvements. Date- 12/56 - 7/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Sample survey, list of Chapter/Affiliate communities. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Morton Thalhimer and Robert Telford. Subject- Theatre Arts Committee agenda, VMT proposals for: director, administrator, production and apprentices. Date- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"The Gallows Man\", limited performance schedule, invitations. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Events program, list of composers represented. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cancelled, considered distasteful for VMT audience. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Program and letters, telegrams of compliment. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- AAMD conference, theft of Roualt drawing from Toronto Gallery, requests for publications. Dates- 5/50 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains reports concerning slide sets and film strips distributed throughout the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Fashion designer to lecture on fashion from 1752 to 1952 for the exhibition: \"Habiliments for Heroines\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- New York World's Fair, newspaper and magazine clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- His election to VMFA Board, museum business. Dates- 5/51 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper and magazine clippings of Governor Tuck. Dates- 12/49 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Biographical data, Tunnard's expertise on city planning. Virginia Town Case Study Group: \"Problems of Planning in the Small Southern Town\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Severance of affiliation to the VMFA. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Artist for VMFA Christmas card. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from F. Brandt and Wm. Gaines. Subject- Seminar to expose students and teachers to the function and operation of VMFA, agenda, program procedure, etc. Dates- 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Questionnaire from UCLA Graduate School of Management and the College of Fine Arts on the priorities related to the Arts, pamphlets. \"U.S. Information Agency-Its Task in World Affairs\". Date- 4/51 - 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and L. Cheek. Subject- Annual Meeting Minutes, travel authorization, organization news, pamphlets, general UNESCO business. Dates- 10/46 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Conference topic: Aid to South American Museums, project development, UNESCO Annual Report, Report of Program Committee. The Voice of America, Forum Lectures with transcript of by L. Cheek of \"The Art Museum As A Community Center\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Requests for loans of slides from South American Museums for L. Cheek's presentation to Denver conference, list of South American Museums. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Opening of UDC new building. Resolution concerning accessibility to members of UDC, invitations. Dates- 6/57 - 12/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence, reports, minutes. Expansion of local service. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Charitable organizations that have received UGF monies and fund raising campaign. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- The Air Force Memorial Center: statement of purpose, design, personnel requirements, building program, Minutes of U.S. Air Force Fine Art Committee 6/58 and 12/60, \"Proposal For The USAF Memorial Education Center\", travel vouchers and floor plan for the Academy Museum (Planetarium). Slides. Dates- 2/57-4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Edward R. Murrow as Director, merging of the People-to People Program (organization of museum professional) with the USIA. Newspaper clippings. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Forum Series\": International Broadcast, lecture series. Essay- \"the Art Museum As A Community Center\" by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- UNESCO Action to safeguard Nubian monuments due to the construction of the Aswan Dam. Roster of Honorary Committee, International Action Committee, United Arab Committee, Executive Board Minutes. Dates- 4/60 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Virginia State Employees U.S. Savings Bond campaign, handbook for canvassers, meeting agendas and progress reports. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Col. H.W. Fitzroy. Subject- Coordinating agency between institutions and other cultural, educational and scientific agencies in Virginia through a lecture series of visiting scholars. Dates- 9/54 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Bayly Art Museum and the McIntire School of Fine Arts at the University of Virginia. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Lecturers and AIV contributors, loans of objects, fellowships. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and T. Colt. Subject- UVA Museum loan of objects and lecture tours, fellowships. List of prints on loan to VMFA from Catesby estate and list of Lurcat Tapestries. Dates- 8/47 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Museum business, Artmobile, VMT, requests for loans, contributions and gifts. Reference to photos of ancient Greek sculpture, architecture and landscape views, invitations, pamphlets and postcards. Dates- 10/58 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains the schedules for staff vacations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence of Hans van Weeren-Griek, curator of Education at the VMFA. Dates- 1940-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Report regarding vandalism and misconduct: soaping of the fountains and damage to shrubs. Dates- 11/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Velz' service as VMFA Head of promotion, civilian and military experience record, newspaper clippings and Melchers Estate. Dates- 1949 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains general correspondence of Velz, Associate Director of VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Status of tax deduction, recommendations for event, invitations and dance card. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 9the Annual Viennese Ball sponsored by the Council: Ball Committee, agenda, decoration, invitations, etc. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- Virginia Art Alliance By-Laws, program and minutes of VAA meeting 1945, Report of the Trustees of Richmond Academy of Arts 1933, correspondence with other members of VAA, etc. Dates- 1933-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- program for annual meeting 1941, blank ballots labeled \"Board of Trustees Ballots\", statement of need for a state Supervisor of Fine Arts Education. Dates- 4/40-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- reports of activities of organization members 1942-3, correspondence with organization members-no annual meeting held this year due to World War II, etc. Dates- 3/43-5/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcement, agenda and program for annual meeting 1944, correspondence with organization members, election of officers/trustees, etc. Dates- 3/44-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting minutes ('49), listing and certification of delegates to VAA annual convention ('49), listing of the VAA Board of Trustees ('49), etc. Dates- 1948-49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes from meetings and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence to Miss Helen C. Rose (Virginia Art Alliance President). Subject- correspondence with member organizations, etc. Dates- 3/58-8/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- minutes of Trustees meeting and annual meeting 1959, roster of officers and Trustees, program for annual meeting 1960, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of Va. Art Alliance). Subject- announcement, replies agenda and program for annual meeting of (1936) the VAA Trustees, listing of organizational members to VAA, certification forms for delegates to the VAA annual convention (1936), etc. Dates- 5/35-5/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension VMFA, Secretary of VA. Art Alliance). Subject- announcements, program and report for VAA annual meeting 1937, resolution changing the organization of the VAA (consolidating its function with that of the VMFA), certification of delegates to VAA annual meeting 1937, etc. Dates- 4/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept., Secretary of VA, Art Alliance). Subject- VAA annual meeting announcement and program (1938), certification for delegates to VAA annual convention 1938, correspondence with member organizations about the reorganization of the VAA (consolidating its function with that of the VMFA), etc. Dates- 2/38-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance). Subject- announcements and program for VAA annual meeting 1939, certification of delegates to the VAA annual convention 1939, letter from Gayle to the State Board of Education supporting the appointment of a state supervisor of art, etc. Dates- 3/39-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1940, correspondence with member organizations, nomination of trustees, certification of delegates to annual convention 1940, etc. Dates- 3/39-5/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1941, report of the VAA 1940-1, listing of organization members, By-Laws of VAA 1934, correspondence with trustees, etc. Dates- 3/41-4/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- program for annual meeting 1942, roster of member organizations, reports from member organizations, Annual Report of the VAA 1941-2, listing of VAA lectures in 1941, Museum Bulletin (VMFA) vol.2, no.6, 1942etc. Dates- 3/42-4/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcements, program and minutes for annual meeting 1944, reports of member organizations 1944, certification of delegates to annual convention 1944, listing of Board resolutions during war time, roster of member organizations, etc. Dates- 4/44-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. T.C. Colt (Secretary of VA Art Alliance). Subject- announcements, program and minutes for annual meeting 1945, roster of trustees and nominating committee, reports of member organizations, certification of delegates to annual convention 1945, etc. Dates- 3/45-2/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945, announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945,announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting program ('46 and'47) and minutes ('46), list of members ('47), certification of delegates to annual VAA convention ('47), Reports of art activities around the state, etc. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance)and M.B. Christison (Curator of Education). Subject- copies of 1947 resolution about art display areas in public buildings, minutes of annual meeting 1947, announcements and program for annual meeting 1948, roster of member organizations 1948, correspondence about securing guest speakers for VAA annual convention 1948, certification of delegates to annual convention 1949, etc. Dates- 7/45-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- membership roster ('48), list of trustees ('48), announcement, minutes and attendance to annual meeting ('48), summary of panel discussion about art education in Va. schools, statement of VAA purposes and objectives, etc. Dates- 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- minutes of the Virginia Art Alliance meeting ('47 and'48), Board meeting announcement and attendance, program of annual meeting ('48), list of suggested nominees to the VAA Board ('48), etc. Dates- 1947-8.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- annual reports of activities made by VAA members. Dates- 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Annual meeting 1955. Correspondence, resolutions and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence, minutes and agendas. Form letter announcing annual meeting 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Minutes, agenda and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcement and minutes of Fall Meeting 1957, correspondence with member organizations, etc. Dates- 11/57-12/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Meeting held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1957, appointments to nominating committee, minutes of the Trustees meeting 1957, roster of organization members, The Annual Review of the Virginia Art Alliance 5/39,etc. Dates- 2/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and tentative reservation list for annual meeting 1958, etc. Dates- 9/58-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1958, reports of member organizations, Virginia Art Alliance By-Laws, proposed revisions to By-Laws, VAA procedures, appointments to committees and to board, etc. Dates- 1/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes from annual meeting 1959, member organization reports, roster of VA. Art Alliance officers and trustees, VAA By-Laws, etc. Dates- 5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison Assistant Director VMFA). Subject- announcement and schedule for annual meeting 1959, blank reservation forms for school artmobile visits, etc. Dates- 10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and program for annual meeting 1960, listing of nominating committee appointments, roster of officers and trustees, listing of delegates to annual meeting, etc. Dates- 3/60-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- reports from member organizations, etc. Dates- 1956-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- List of organizational members and their attendance, correspondence and form letters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Board of trustees and list of members 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Board of trustees' meeting 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Board of Trustees, 1952-55. Correspondence, minutes. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Trustee correspondence, minutes and members. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard Subject- preliminary work for the VAA booklet: \"Facilities for Organization Members Comprising the Virginia Art Alliance\". Dates- 8/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by M.B. Christison (Secretary Virginia Art Alliance). Subject- minutes of Virginia Art Alliance (VAA) annual meeting 1957, proposed revisions to By-Laws, etc. Dates- 8/56-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- outline of a state art federation, constitutions, by-laws, information on other art federations (i.e.: The American Federation of Art, The Kansas State Federation of Art, The Indiana Federation of Art Clubs, etc.), etc. Dates- 1/34. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Va. Art Alliance procedures and a short history, draft of proposed revisions to VAA By-Laws, Annual Review of the Virginia Art Alliance. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA/ Secretary of the VA Art Alliance). Subject- VAA By-Laws 1934, resolution (1936) to consolidate the functions of the VMFA and VAA, information about the development of a new type of VMFA annual membership- the organization membership, etc. Dates- 1934-10/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- listing of Trustees 1934- 39, Trustee meeting announcements, letters accepting election to the VAA Board of Trustees, etc. Dates- 11/34-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA representative on the Virginia Art Commission. Dates- 11/55 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- selecting and securing jurors for the exhibition \"Virginia Artists 1955\", listing of pieces and artist included in the exhibition, printed material for the exhibition, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Jurors: Paul Smith, Rose Slivka and Frank Getlein. Salon des Refuse's, biographical data, exhibition catalog. Dates- 6/66 - 6/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Prospective jurors and exhibition announcement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Jurors: Thomas Hess. Exhibition statement, reception, guest list, members preview, program agenda, discontinuation of salon des refuse's, installation and exhibition catalog. Dates- 1967, 11/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper and magazine clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Correspondence regarding auditor's reports. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Audit Reports 1936-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Auditors Survey and Systems study of the VMFA. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Wm. Morrison. Subject- Filming of \"California Watercolors\" traveling exhibition with footage of Virginia Beach Sidewalk Show included in the 25th anniversary film. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Prospectus for the Virginia Center For the Performing Arts. Statement of purpose: Academy-Conservatoire of Dramatic Art with training center and professional theatre. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding objects and paintings in private collections throughout state of Virginia. Correspondence with artists and owners. 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Statement of mission, NEA grants, proposals, awards, potential applicants, recipients. Collectors' Circle: Arts and Humanities Challenge grants for Conservation projects. Degas exhibition. Dates- 2/74 - 6/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- VCU and U of R Drama departments. VMFA/VCU Museum Methods Course. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Peter Mooz and J.M. Brown. Subject- Current/future cooperation between VCU and VMFA: theatre, Art Historical studies, education, museum training, music dept.'s, VCU Conservation Lab and Anderson Gallery. Dates- 1/73 - 2/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Juror: Paul Smith. Reception, guest list, program, agenda and exhibition catalog. Dates- 3/71 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Juror: Henry Wolf. Event program, invitations, guest list, statistics regarding entrants, certificate winners, etc. Exhibition catalogs for \"Virginia Designers\", 1970 and 1971; \"Virginia Photographers\", 1970 Date- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regarding state budget 1946-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VEA Centennial Event and retired teachers complex, theatre program and Executive Committee Minutes, 12/61. Dates- 10/63 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Retired teachers apartment complex proposed for the 2900 block of Grove Ave., later rejected by the City Council, newspaper clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Exhibition: \"American Rooms in Miniature\", sponsored by Va. Federation of Women's Clubs, sponsorship of statewide tour of Artmobile, newspaper clippings and pamphlets, \"Virginia Journal of Education\", 10/63, catalog of \"American Rooms in Miniature\" by Mrs. J.W. Thorne, Art Institute of Chicago, 1941. Dates- 6/53 - 2/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Virginia Federation of Women's Clubs Statewide Arts Festival. Dates- 5/67 - 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Thank you notes from newly elected/reelected members of the House of Delegates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Gov. John. S. Battle. Dates- 1949-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Gov. Colgate W. Darden. Dates- 1942-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Gov. George C. Peery. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Bills vetoed and passed by Gov. Thomas B. Stanley [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Gov. William M. Tuck. Dates-1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Multi-level Arts Festival held annually in Abingdon, Va., loans of art works, consultation on programming and pamphlets. Dates- 11/52 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, F. Numan (Wm. and Mary) Subject- Meeting to focus on Architecture and the Humanities. Dates- 11/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Catalog from Franklin Mint series of silver commemorative medals. Norton Simon summary of Annual report, 1970. Dates- 1970 -71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Mrs. J.G. Pollard was chairman of this agency; copies of: Fundamentals of a Growing Recreation Program by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Agendas and minutes of meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Concerns a Governor's commission to study juvenile delinquency and the Virginia Advisory Legislative Council. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Report to the Committee on \"Recreation as a Function of Government in Virginia.\"   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- copies of the executive order creating the Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- planning a listing of recreation films available through state agencies and 16mm Recreation Films Available in Virginia published by the VA Inter-Agency Committee on Recreation, etc. Dates- 6/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- working papers and final copies of the \"1st Report to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 10/53-1/54; Correspondence Subject- copies of the \"First Report to the Governor by the Inter-Agency Committee on Recreation\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Selected legislation on recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- membership rosters for the VA Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- statewide recreation reports listing facilities, budgets, organizations and needs, pamphlets from the National Recreation Association, etc. Dates- 7/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Sponsored by the National Recreation Association 1955-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains a listing of personnel and the purpose of the committee.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Newspaper clippings and pamphlets.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Pamphlets, magazine articles etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Copies of \"Fundamentals of a Growing Recreation Program\" by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- working papers for and final copies of the \"1st and 2nd Reports to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 11/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Juror: Sarah Tomerlin Lee, Biographical data, event program, pamphlets and catalog for exhibition. Dates- 9/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Museum events, rosters: Senate, House of Delegates. Letter to members of the general assembly. Essay- \"The Virginia Museum and the Arts in Virginia\". Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Reception for organization composed of Mayors, City Managers and City Officials. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Faye Ambrose and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year. Dates- 5/56-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Charles E. Baker and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications and award letters (1950, 1951) for VMFA in-state fellowship, artist progress reports for 2 years, etc. Dates- 5/50-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Regina Bartley and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 4/51-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Wm. Thomas Bland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA fellowship, thank you notes made by Mr. Bland (mixed media including watercolors). Dates- 8/48-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Robert Brushwood and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations, award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Kuhn R. Caldwell and Mrs. J.G. Pollard, M.B. Christison (Assistant Director), and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, artist progress reports for 1 year . Dates- 12/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mary Frances Cheatham and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA junior fellowship, artist progress reports for 1 year. Dates- 1/49-3/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Janet Clausen and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Robert L. Davis and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA in-state fellowship, photos of artist's work, artist progress reports for 1 year, etc. Dates- 4/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Worden Day and Mrs. J.G. Pollard, M.B. Christison and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, etc. Dates-4/49-8/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. T.V. Downing, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 10/49-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Charles Flynn, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 4/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 2/54-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- award letter for VMFA in-state fellowship, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Barbara Harding and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications ('53 and '54), recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Catherine M. Hipp and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Jem W. Hom and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/56-7/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between W.B. Houghland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Caroline C. Huff and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. William W. Jackson and Mrs. J.G. Pollard and L. Cheek Jr. Subject- applications (1948,1949), recommendations and award letter for VMFA fellowship, etc. Dates- 5/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Benjamin Knapp and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. James Leedy and Mrs. J.G. Pollard and M.B. Christison (Assistant Director). Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/57-6/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Brenda R. MacBaisey and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year (includes lithography proofs), etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. James P. Moyers and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Joe Ravenscroft and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, application and recommendations for VMFA fellowship, etc. Dates- 8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, recommendations for VMFA fellowship, etc. Dates-8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between M.F. Russell and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for out-of-state fellowship, artist progress report for 1 year, etc. Dates- 4/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between R.E. Spain and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Ms. Mary R. Tatum and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1year, etc. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Primm Turner and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress report for 1 year, application for Catherwood Foundation fellowship, etc. Dates- 3/56-9/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. E. Parker Twombly and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA out-of-state fellowship, recommendation letters written by: Ben Shahn and Robert Motherwell, artist progress report for 1 year, etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress report for 1 year, etc. Dates- 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Howard Woody and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for student fellowship, etc. Dates- 4/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mr. Peter Wreden and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, etc. Dates- 4/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of fellowship applicants, requests for applications, rejection letters, etc. Dates- 3/49-6/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications, recommendations and rejection letters for those applicants not chosen to receive fellowships. Dates- 3/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship, fellowship announcement, minutes of the fellowship committee meeting (1954), etc. Dates- 12/40-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard. Subject- listing of applicants 1942-44, listing of types of fellowships offered by the Museum, etc. Dates- 1942-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- various applications, recommendations, rejection letters, etc. Dates- 5/46-6/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- announcements of fellowships, blank fellowship applications, requests for applications, various completed applications, award and rejection letters for fellowships, artist reply letters, etc. Dates-4/46-12/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- various applications, recommendations, fellowship recipient progress reports, award and rejection letters, correspondence with Fellowship committee, etc. Dates- 4/47-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject-the organization of the Fellowship committee, requests for fellowship applications, etc. Dates- 9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. John L. Pratt. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship program, minutes of: annual board meeting (1941), executive committee meeting (1940), VA artists fellowship committee meeting (1940), announcement/application for VMFA fellowship, etc. Dates- 6/40-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- General correspondence about the Museum. Dates- 1939-46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Exhibition- \"The Virginia Museum of Fine Arts in Roanoke\", 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Essays by Director Thomas Colt on the Principles and Work of the Virginia Museum of Fine arts and its history.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Timetable, agenda, invitation, guest list. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and F. Brandt. Subject- Juror: Henry Callahan, biographical data, entry form, letters to selected applicants, statistics: entrants vs. applicants etc., and jury procedure. Dates- 4/71-2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Fellowships, VPI Traveling Theatre. Letter to Josef Albers with biographical data, invitations and exhibitions. Dates- 3/59 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Contains pamphlets and correspondence between this association and Mrs. Pollard's Inter-agency committee on recreation 1949-54; Reports and Inventories of recreational activities of state agencies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- VMFA budget, state issue vehicles, Artmobile, salaries, Robinson House, etc. Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown. Subject- Complimentary memberships to members of the house of delegates, travel regulations, United Givers Fund campaign, management studies. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VSAA membership rosters, membership of confidential secretaries to directors of state agencies. Dates- 9/63 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from the Office of the Governor. Subject- Memos to heads of state agencies regarding all manner of state operations, capital outlays. Annual Report of \"Virginia Department of Vocational Rehabilitation\", 1976. Dates- 1/73 - 10/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from the Office of the Governor. Subject- Affirmative Action and Freedom of Information Act requests. \"Virginia Local and Regional Planning 1974\"; \"Virginia Commission Visually Handicapped Annual Report\", 1973-74; \"Virginia Highway Commission Annual Report\", 1973-74. Dates- 11/74 - 12/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from the Office of the Governor. Subject- State governmental management, budget appropriation requests, Virginia calendar of events, newsletters, museum salaries and the Virginia Privacy Act of 1976. Dates- 4/75 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Regards donating old exhibition materials 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt. Subject- Roster of VMFA Trustees, resume of progress in the Fine Arts of Virginia. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and E.M. Kates (VSIF). Subject- Planting of flower beds and maintenance of interior foliage, Elizabeth Kates Foundation. Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Cleaning and treatment reports of portraits owned by the Virginia State Library and Archives. Also correspondence regarding the wartime protection of Virginia's cultural materials, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- outline of annual meeting. Dates- 11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- \"Planning Your Town\" traveling exhibition, photos and description of exhibition installation, copy of an essay written by Cheek for Art Digest (4/52) Dates- 2/52-10/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by L. Cheek, Jr. Subject- VA Union choir singing at the Museum during the Christmas season, pamphlets about Museum sponsored activities during the holidays, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Statewide competition for the design of Memorial and jury selection. L. Cheek's service as advisor to the Memorial Commission. T.J. Collins and Son as winners of competition. \"Program Of Competition For The Virginia World War II Memorial\". Dates- 12/50 - 3/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Program Of Competition For The Virginia World War II Memorial\", firms invited to compete in the final selection, expenses incurred and resumes of applicants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, John J. Wicker Jr. (Chairman). Subject- Competition program, VWW II Memorial Commission meeting minutes, \"Preamble\", for the creation of the memorial, \"Architectural Competitions\", AIA Document no.213. Drawings/plans and photographs for site development. Dates- 5/50 - 12/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- 1953 Official Report of the Virginia World War II Memorial Commission. Dates- 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Competition program and closing proceedings. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Applications from selected entrants, official report of the jury in their selection of J.T. Collins and Son, (A.I.A.). Dates- 3/51 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Report of the Jury concerning the winning design. Jury members: Waldon Franklin, George Howe, Frederick C. Disque, Edward D. Stone, W. S. Robertson, biographical data included and list of competition entrants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Guest lecturers, membership. Dates- 12/63 - 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and Mrs. von Keller. Subject- appointment of von Keller as Acting Director of VMFA in absence of Colt, biographical information, etc. Dates- 4/35-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mrs. von Keller (Art Director, Randolph-Macon Woman's College). Subject- personal, Museum events, etc. Dates- 8/42-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Morton Vose. Subject- Acquisitions and provenance of objects. Dates- 7/56 - 2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Mrs. J.G. Pollard, T. Colt. Priscilla Crum and L. Cheek. Subject- Segregation in children's art classes, Study of early 19th century architect and builder John Jordan. WRVA Radio weekly series of VMFA activities, Salon des Refuses' for artists eliminated from the Virginia Artists juried exhibition. World War II Memorial design competition, Artmobile, newspaper clippings, paintings from the Williams Collection and the Helena Woolworth McCann Collection of Export Collection. Exhibition catalog: \"Eugene Wiesz\". Photographs. Dates- 9/45 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and M. Christison. Subject- Artmobile, AIV, sit-see chairs, collectors circle, Fellows, Wise Pre-Columbian Collection, requests for employment. Woodrow Wilson Birthplace Foundation: Annual Report 10/64. Gifts, loans, contributions and acquisitions. Dates- 3/60 -11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from J.M. Brown and P. Near. Subject- Exhibition announcements, invitations, newsletters, biographical data, requests for employment. Purchases, gifts and acquisitions. Damage report of art works. \"Profile\", re: Tishman Collection of African Objects. \"Hermes Wingraf Quarterly Catalog\", Summer 1971, re: 17th century Dutch still-lifes. Dates- 2/70 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Waddy bequest for fountain construction. Costs of construction and maintenance of fountains: National Gallery, Frick Collection and Isabella Stewart Gardner Museum, includes photographs. Blueprints/plans: VMFA Site Development, East Elevations. Excerpt from the will of Woodson P. Waddy. Dates- 1947, 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Bronze Waddy Memorial Fountains, architects: Eggers and Higgins, Sculptor: Ralph Menconi. Contractual agreement with architects, Blueprints/ plans, detail drawings for : Waddy Memorial Fountain, Triton Fountain, East elevation and site development plans. Dates- 8/53 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt and Mr. Clifford L. Walker. Subject- inscribed plates for paintings in Museum collection, bronze busts and tablets for founders. Dates- 11/35-8/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Walpole Society Dinner, membership roster and newspaper clippings. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- VMFA staff orders for conduct of Museum during an emergency, pamphlets from the U.S. Government, Association of Art Museum Directors and American and British museums about art preservation in case of a wartime emergency. Dates- 1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Warburg Collection on loan to VMFA and his address to collector's circle. Bulletin vol.18 no.9 5/58 Dates- 5/57 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT scenery design. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- pamphlets from the U.S. Government, Association of Art Directors and American and British museums about art preservation in case of a wartime emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- prospective sale of George Washington portrait by Peale to the state of Virginia, history of the painting, may have been commissioned by the state in 1784 for use by Houdin (the sculptor of the George Washington statue in the capital). Dates- 10/37-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Marion Junkin. Subject- Metropolitan Collection on permanent loan to W\u0026amp;L, letter from M. Junkin espousing the talents/commitments of the young artist Cy Twombly. Hans Gasman as restorer for VMFA lists of objects and exhibitions. Dates- 11/49 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Alexander W. Weddell. Subject- Weddell's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, gifts from Weddell, listing of Trustees 1942, listing of Trustees committee assignments 1945. Dates- 9/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from T. Colt and Mrs. J.G. Pollard. Subject- Founding member of VMFA, resolution from Executive Board in memoriam of Alexander Wilbourne and Virginia Chase Weddell. Award of the Webster S. Rhoads Medal for distinguished service. Minutes of Annual Meeting, descent and authenticity of a pair of copies of portraits of George Mason and his wife. Dates- 7/45 - 1/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and J.M. Brown. Subject- Foundation financial support: VMT, library, contributions to Fellows fund, book purchases, VMFA services catalog. Dates- 7/66 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Director of Gallery of Modern Art, NYC, and his service as a juror. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- \"Time\" article on George Catlin, artist of the American West. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and P. Mellon. Subject- Ultimate destination of Mellon English Collection. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Tour request. Dates- 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek to Mrs. J. H. Parsons. Subject- Wheelchairs adapted for sit-see chairs and underwritten by Mrs. Parsons. Dates- 10/65 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Lecture/recital to VMFA council and Fellows. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Invitation to L. Cheek by President Johnson to attend luncheon for President-elect Barrentos of Bolivia. Dates- 7/20/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Objects on loan to White House. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Theo B. White. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Diorama's made by Whitelaw in the collection of the L.A. County Museum and George Washington Masonic National Memorial Association. Photographs Dates- 7/62 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- general correspondence with a Trustee on Museum programs and operating activities (esp. Accessions Committee). Dates- 6/35-3/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from Beatrice von Keller, T. Colt and L. Cheek. Subject- Organization of an exhibition of pre-Columbian sculpture, Catesby-Jones collection, Whitman Collection of Mayan Sculpture, Chrysler Collection accessions and exhibitions. Date- 8/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mrs. Thelma Cudlipp Whitman. Subject- Trustee/Museum business, etc. Dates- 5/51-2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Ambassador to Great Britain, invitation to become Collector-of-the- Year. Dates- 5/61 - 7/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr. and various Whitney Museum staff. Subject- loans to the Museum for the inaugural exhibition, loan to the Whitney from VMFA, museum practices, etc. Dates- 5/35-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Summer state service projects, VMFA projects list. Dates- 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Playwright, invitation to address VMT, Time Cover 11/12/53. Dates- 1/53 - 3/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA appointment to Board of Trustees, service as President and on the Entertainment Committee. Museum business, South Wing, Fellows, NEFTA. Gift of Mellon French painting collection, gifts, contributions. Dates- 6/65 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Exhibitions: \"Jean Outland Chrysler Collection\" and \"30 Years of Virginia Art\". List of objects, Charter Day ceremonies: invitation list and dedication of the new Fine Arts building. Essays- \"Thomas Jefferson and the Fine Arts\" and \"The Arts in Virginia\", by L. Cheek 2/67. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMT and loans of objects to VMFA. Dates- 1/50 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek and Mrs. J.G. Pollard. Subject- Williams Collection inventory, Williams purchase fund, statement concerning the informal agreement between L. Cheek and Mrs. A. D. Williams concerning installation of collection in the new wing. Selected inventory of furnishings in the Williams home. A.D. Williams as recipient of the Rhoads Medal, financial contributions, gifts and loans. Dates- 6/48 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence with Berkley Williams Jr., Virginia artist. Dates- 1936-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between T.C. Colt, Jr., and Mr. E. Rand Williams. Subject- Trustee/Museum business, Rand served as Buildings and Grounds Committee Chairman 1937-8 and as first Vice-President in 1941, etc. Dates- 6/35-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence between Mrs. J.G. Pollard and Mr. E. Randolph Williams. Subject- Trustee/ Museum business, etc. Dates- 5/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Glasglow bequest, Melchers Estate, Pratt Jewels, Portrait of \"James Patton Preston\", Gilbert Stuart, general legal questions. Dates- 10/58 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Election to board of Trustees; Dance Society. Dates- 6/54 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Advisory committee on the new Reception Center, L. Cheek as a member and a map with the proposed location. \"Summary of Reception Center Objectives and Experience\". Dates- 11/53-1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- List of objects accepted as loans and pending gift status. Dates- 10/49 - 3/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Preliminary plans for a foundation to house objects related to W. Wilson's life. Portrait exhibition of the 8 Virginia born Presidents, portrait of Mrs. Wilson, artist unknown. \"Woodrow Wilson's Heritage of Faith\", Frank Bell Lewis, Woodrow Wilson Birthplace Foundation, 1956. Dates- 9/55 - 6/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Letters of request and approval for event, agendas and timetable. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Letter of confirmation. Dates- 7/11 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eSubject- Woodlawn Plantation event, guest list and map. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. to Worcester Art Museum staff. Subject- loans for VMFA inaugural exhibition, loan to Worcester Art Museum, etc. Dates-8/35-7/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- exhibition held at the Museum \"Southern States Preview\" a regional exhibition connected to the World's Fair. Dates-10/38-12/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by applicants to exhibition. Subject- listings of artists accepted to the show (listed state by state). Dates- 12/38-1/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Arthur Drexler (MOMA) to lecture on Wright exhibition, reception, guest list. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Transcript of radio broadcast 2/26/54, exhibition: \"American Painting\", Artmobile and magazine excerpt. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Betsy Wyeth and Harry Brooks (Knoedlers). Subject- \"Country\": Working drawings, Artmobile layout and tour and reviews. Dates- 2/67 - 11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, J.M. Brown and P. Near. Subject- Exhibitions, loans, acquisitions, AIV, gifts, contributions. Correspondence with William Zorach, sculptor. Dates- 9/49 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence by T.C. Colt, Jr. Subject- museum practices, loans for the VMFA inaugural exhibition, etc. Dates-9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- General correspondence from Alumni, possible lecturers, newspaper clippings. Correspondence between Cheek and Alfred Stiegletz. Minutes of Alumni and Friends of the School of Art and Architecture, 5/58, pamphlets. Dates- 6/58 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Third Report Of The Committee On Architecture, Painting and Sculpture\", 4/50. Committee membership roster, issues facing various Yale departments. \"Bulletin Of Yale University\", series 44, 4/48 #5 and \"Official Register Of Harvard University\", vol. XLV, no.15 7/15/48. Dates- 1949 - 50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek, Mrs. Pollard and M. Christison. Subject- Yale school of the arts general operation, appointment of Joseph Albers, list of University Council Committees. Dates- 9/48 - 9/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Draft of the committee report and responses from other Yale committee members regarding departmental personnel, curriculum, problems and resolutions. \"Report Of The Committee Of The Division Of The Arts (Architecture and Planning And Design)\",prepared by L. Cheek, 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- \"Report Of The Chairman Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 4/48, prepared by L. Cheek. Issues concerning Yale departments of the arts. Minutes of Yale Executive Committee Meetings, various reports on Yale departments. Dates- 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Cheek draft of, \"Report Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 1952. Yale policy review, new appointments, letters to other committee members, roster of membership. Dates- 5/51 - 4/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- Evolving challenges of the various Yale departments. \"Report Of The Committee On The Division Of The Arts (Architecture, Planning and Design)\", 4/53. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eCorrespondence from L. Cheek. Subject- VMFA performance of Yale Glee Club, agenda, program, roster, etc. Dates- 10/60 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]\u003c/p\u003e","\u003cp\u003eR. Peter Mooz was Director of the museum from 1976-1981.\u003c/p\u003e","\u003cp\u003eCharles L. Reed was Interim Director of the museum from 1981-1984.\u003c/p\u003e","\u003cp\u003ePaul N. Perrot was Director of the museum from 1984-1991.\u003c/p\u003e","\u003cp\u003eKatherine R. Lee was Director of the museum from 1991-2000.\u003c/p\u003e","\u003cp\u003eRichard B. Woodward was Interim Director of the museum in 2000.\u003c/p\u003e","\u003cp\u003eMichael Brand was Director of the museum from 2000-2005.\u003c/p\u003e","\u003cp\u003eThomas N. Allen was Interim Director of the museum in 2006.\u003c/p\u003e","\u003cp\u003eThis series contains correspondence and subject files from staff members in the Director's Office.\u003c/p\u003e","\u003cp\u003eCarolyn Weekley was the Assistant to the Director from 1978-1979. She later became Curator of Decorative Arts, so there is some overlap in the files with her curatorial work.\u003c/p\u003e","\u003cp\u003eMargaret (Peggy) Burke was Assistant to the Director from 1980-1981, then Deputy Director in 1982, Deputy Director. She originally served as Assistant Director for Collections and Interpretation, so there is some overlap in the files with her other work.\u003c/p\u003e","\u003cp\u003eLulan Yu was Assistant to the Director from 2002-2007. Her files are mostly related to the North Wing expansion and the museum identity project.\u003c/p\u003e","\u003cp\u003eLee Anne Hurt Chesterfield was Assistant to the Director from 2004-2009, then became Director of Board Relations and Museum Planning. Her files are mostly related to special projects, exhibitions, and AAM reaccreditation.\u003c/p\u003e","\u003cp\u003eThis series consists of building files that were maintained separately in the Director's Office. There are often additional building files found in each Director's Correspondence files.\u003c/p\u003e","\u003cp\u003eThe West Wing was completed in 1985.\u003c/p\u003e","\u003cp\u003eThe North Wing expansion was completed in 2010.\u003c/p\u003e","\u003cp\u003eThis series consists of corespondence with internal and external groups, the affiliations or creations of which often often overlap different Directors.\u003c/p\u003e","\u003cp\u003eThis series consists of minutes and planning documents for meetings convened by the Director.\u003c/p\u003e","\u003cp\u003eThis series consists of program files that were maintained separately in the Director's Office. 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Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Sub-Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Sub-Series Description","Series Description","Sub-Series Description","Sub-Series Description","Series Description","Series Description","Series Description"],"scopecontent_tesim":["This series is comprised of correspondence of all of the various Directors of the museum. Files were arranged alphabetically by subject, and there is a lot of overlap between different Director's as the files often contained pertinent items from a predecessor. In the case of the first sub-series (1.1), until 1976, the entire museum's files were maintained centrally as one unit in the Director's Office.","This series includes the records of the first three Directors - Thomas C. Colt (1935-1948), Leslie Cheek, Jr. (1948-1968), and James M. Brown (1969-1976) - as well as the two Interim Co-Directors Beatrice von Keller and Violet McDougall Pollard (1942-1945). The bulk of this series was deposited at the Library of Virginia, therefore most of the items held at VMFA are copies that LVA returned to the museum.","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with individuals, institutions and corporations beginning with the letter 'A', note- two letters written to Josef Albers (no replies). Dates- 2/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding a copy of Gainsborough's \"Blue Boy\" in the collection of Van Clief of Esmont, Virginia.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters from private donors and dealers offering objects for sale and as gifts to the Museum when it was first started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and information about gifts and purchases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about items being considered for purchase and members of the committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes, and information on bequests and purchases. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence, minutes and lists of members and information about objects for consideration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- minutes of accessions committee meeting 1972, announcements and attendance for meetings 1973, acquisitions policy for bidding on works of art at auction, etc. Dates- 9/72-1/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- painted decorations of St. James church, putting this church on the Virginia section of the National Register. Dates- 4/68-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- departmental inventories of non-expandable assets of the Commonwealth of VA 1940-3, worksheets on individual art objects and Museum equipment, state regulations, etc. Dates- 6/43-11/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown and P. Near (Curator). Subject- correspondence about possible acquisitions, considerations of gifts, notes on possible acquisitions, etc., 10/70-4/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding the gift of Mrs. Charles Adams (Ann Fowlkes) of music albums 1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's appointment by the Governor to an advisory committee assisting the Dept. of Conservation and Economic Development in a study for a proposed museum of science, archaeology and natural history (to be located in Richmond), copy of Senate joint resolution no.26-to study the encouragement or establishment of a museum of science and natural history, list of committee members, Report of the Department of Conservation and Economic Development to the Governor and the General Assembly of Virginia Relative to the Establishment of a Museum of Science, Archaeology and Natural History in Richmond, 1965, etc. Dates- 5/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Excerpt from the Report of the Committee on Recreation to the Advisory Council on the VA Economy and A Summary of Major Recommendations that Involve Questions of State Policy by the Advisory Council on the VA Economy. Dates- 8/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- possible Museum acquisitions from the dealer. Dates- 4/53-5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Airfiltering System 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- correspondence and announcement for lecture by Ambassador Akar about Africa's unique cultural heritage, etc. Dates- 10/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek was a judge for their annual show. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with Albemarle Art Association President about discontinued affiliation with VMFA, biographical information on Cheek, introduction about Cheek for lecture at AAA, Cheek's remarks in honor of Horace Burr 1966, etc. Dates- 8/57-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with and biographical information about Josef Albers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- a letter to Albers (no reply). Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown Subject- correspondence with Director about appointment to board of Hon. George S. Aldhizer II, Education in the Arts and Honors and Awards Committee appointments, etc. Dates- 6/67-2/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Donor of several paintings to the Museum, 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek as speaker for \"The Alexandria Forum: Southern Decorative Arts 1750-1850\", exhibition loans to Alexandria Assoc., etc. Dates- 9/55-1/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Printed materials. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding annual meetings and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- AAM (American Association of Museums)annual meeting pamphlets 1955,'57,'58,'59'60,'61,'62,'65 and'68, proposed constitution and By-Laws 1961, roster of member institutions 1959, correspondence about AAM meeting in Williamsburg, etc. Dates- 10/60-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from AAM Directors. Subject- Minutes annual meeting 1969, membership reports 1969-70, Financial Statements 1969-70, agenda for AAM council meeting 1970, memos, etc. Dates- 8/69-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- info about AAM (American Association of Museums) seminar held in Richmond 1972, financial and membership reports 1972, minutes of exec. committee meeting 1972, news releases, letter from Richard Nixon to Mr. Brown as President of the AAM, mailings sent out by AAM, etc. Dates- 7/72-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about Cheek as Program Chairman for AAM (American Association of Museums) annual meeting in Williamsburg 1962, tentative agenda, schedule of events, attendance list, committee reports, program, etc. Dates- 5/59-1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- correspondence to American Art Association (AAM) section chairmen about annual meeting, program, schedule of events, etc. Dates- 9/60-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about arranging program for American Association of Museums (AAM) meeting, roster of section chairmen 1962, agenda for exec. committee meeting 1961, invitations sent to VMFA trustees for a reception (held at VMFA) to meet the delegates to AAM meeting, etc. Dates- 7/59-6/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- roster of AAM (American Association of Museums) section chairmen 1962, attendance and schedule for section meetings, etc. Dates- 1/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lloyd Goodrich Lecturer. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek on advisory committee for the study of design and craftsmanship in today's products, roster of advisory committee, proposed exhibition, conference series, documentary and publication about design and craftsmanship, National Exhibition Project Committee meeting minutes 1950, etc. Dates- 3/49-4/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek on Board of organization. Contains memos, pamphlets, exhibition literature etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns L. Cheek's membership in the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- minutes of exec. committee meetings 1961, '62 and '65, roster of trustees, memos to trustees, correspondence about convention in Chicago, etc. Dates- 1/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. (trustee of AFA). Subject- information about circulating exhibitions, minutes of Exec. committee meetings 1966 and '67, minutes of trustee meetings 1966, '67 and '68, memos to trustees, etc. Dates- 1/60-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- American Federation of Arts (AFA) exec. committee meeting minutes 1967 and '68, correspondence about AFA delegates visit to VMFA 1969, roster of members and committee appointments, news releases 1968, President's annual report to AFA, etc. Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about Cheek as Convention Committee Chairman 1959, correspondence about potential committee members, program for convention, minutes of preliminary joint meeting of the AFA trustees 1958, minutes of trustees meeting 1959, Golden Anniversary Convention, The American Federation of Arts 1909-1959, congratulatory and appreciation letters to Cheek, etc. Dates- 3/58-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown Subject- AFA (American Federation of Arts) exec. committee meeting minutes 1959,'60,'61,'62 and'65, roster of board of trustees, trustee meeting minutes 1961 and '62, AFA constitution, National Council on the Arts and Government Annual Report 1960, etc. Dates- 3/61-1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with the American Institute of Architects. Dates- 4/47-1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek served as a juror for the Annual Homefurnishings Design Competition and was an honorary member, 1949-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- A.I.D. (American Institute of Designers) VA chapter yearbook 1961-2, listing of suggested museums for A.I.D. exhibition, etc. Dates-5/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown. Subject- dinner meeting for the AID (American Institute of Designers) (interior designers). Dates- 10/69-11/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz and Wm. Wilkinson (Mariners Museum). Subject- Loan requests, cost estimates, pamphlets and photographs. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz and Wm. Wilkinson\u003e Subject- First major survey of American Marine Painting in observance of the Bicentennial. Lists of paintings, installation, budget, etc. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains copies of lecture invitation and catalog. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown from ASA (American Society of Appraisers). Subject- Brown's membership in ASA, ASA news 1971-2, announcement of meeting 1971, etc. Dates- 10/70-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for gallery dinner at VMFA for American Society of Appraisers. Dates- 1/72-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Brown as Chairman of a committee on collections at Amherst College and member of Exec. Committee of the Association of Fine Arts, constitution and minutes of Association of Fine Arts meetings 1970 and '71, roster of members of the Association of Fine Arts, membership solicitation letter, catalogue: The Amherst Sesquicentennial Exhibition 1972, etc. Dates- 10/69-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. J.G. Pollard and Mr. Henry W. Anderson. Subject- meetings of the Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, a portrait of Anderson by VA artist, Julian Binford, etc. Dates- 6/35-11/44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Henry W. Anderson. Subject- Anderson's presidency of the Board of Trustees 1947, trustee and Museum business, Annual Board meeting minutes 1947-8, Museum events and daily operations, Museum investments and gifts to the Museum, a general study of the Museum's collections and suggested plan of development (1947), information about the land occupied by the Museum and its estimated future needs, etc. Dates- 6/47-6/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- President of the Board of Trustees. 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and L. Cheek, Jr. and Col. Henry W. Anderson. Subject- Anderson's presidency of the VMFA Board of Trustees, Museum events and daily operations, gifts to the Museum, investment of the Museum's A.D. Williams fund, listing of financial condition of endowment and special funds 1952-3, etc. Dates- 5/51-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for dinner honoring Mr.and Mrs. Walter P. Chrysler, guest lists, invitations, R.S.V.P.'s, etc. Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- final copies: VMFA 2nd Annual Report of the Director 7/1/36-6/15/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 7th Annual Report of the Director 7/1/41-5/1/42 and VMFA staff orders 1/42 elaborating the orders of 6/41 conduct of the Museum during an emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers, preliminary and final copies of The Report of the Acting Directors for the Year 1944-5, agenda for Executive committee meeting 6/44, breakdown of membership 1943-4, 1944-5 and working papers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- final copy VMFA Annual Report. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- preliminary and final copies VMFA Annual Report 1946-7 7/1/47-4/30/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- preliminary and final copy: VMFA Annual Report 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for the 1948-9 Annual Report, Report of the Executive Committee of the VMFA to the Board of Trustees (5/22/49) also a listing and attendance record of the Board of Trustees (5/27/49).  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for the 14th Annual Report, including operations budget, salaries and membership count, also a copy of VMFA Organic Laws (10/36). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- The 14th Annual Report of the Director (5/27/49) and its working papers, also correspondence about VMFA role in selecting and displaying portraits in the Governor's Mansion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- working papers for the annual report, listing of Cheek's activities (lectures, consultations, committee and jury duties). Dates- 1960-1. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual Reports for Collections and Gallery Divisions 1951-54, and for State Extension Services 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 1st Annual Financial Report of the Curator (4/13/35-6/15/36), VMFA 2nd Annual Report of the Director (7/1/36-6/15/37), VMFA 3rd Annual Report of the Director (7/1/37-6/1/38), VMFA 4th Annual Report of the Director (7/1/38-6/1/39), VMFA 5th Annual Report of the Director (7/1/39-5/1/40), VMFA 6th Annual Report of the Director (7/1/40-5/1/41). Dates- 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA 7th Annual Report of the Director (7/1/41-5/1/42), VMFA 8th Annual Report by the Acting Directors (7/1/42-5/31/43), also, VMFA 9th Annual Report by the Acting Directors (7/1/43-5/31/44).  Dates- 1941-1944. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- the following reports: \"Remarks by Robert Marsh, Jr. before the Appropriations Committee of the General Assembly\" and \"Resume of the Request of the Trustees of the Virginia Museum of Fine Arts before the Appropriations Committee 2/64\" Dates- 2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual meeting of its Richmond Chapter at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and Ms. B. von Keller. Subject- biographical info, purchase of his painting Maggie, letters of introduction, personal references, loaning work to Museum, Va. artists exhibitions, counsel on museum operations, etc. Dates- 10/35-10/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed paperback guide to architecture in Virginia, roster of Editorial Advisory Board for guidebook, list of sites by counties and cities, etc., final list of buildings and sites, announcements and minutes of Nominating Committee meeting, etc. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- biographical information on H. Harvard Arnason, speaker on Henry Moore sculpture at VMFA, VMFA Members' Bulletin vol.26, no.2 10/65. Dates- 9/65-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- confirmation of meeting with State Art Commission to present plans to enlarge VMFA. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership roster, pamphlet of Art Dealers of America, Inc., etc. Dates- 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given at the VMFA by members of the staff of the Museum of Modern Art 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices, the following publication: Let's Make the Lions Roar: A Marketing Study of the Art Institute of Chicago by Edward J. Teply (Northwestern University 1959) Dates- 6/48-1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Potential jurors for biennial exhibitions 1970. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence and a listing of members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and art nouveau purchase plan. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Artificial flowers for decoration in galleries, 1964. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum program where artist-members participated in a life drawing class.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program sponsored by museum for artist members, included life drawing classes and lectures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and memorandums. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and minutes from meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ballots for the election of the artist's advisory committee. The artist's advisory committee of the Museum promoted artist's evenings at the museum and interaction between artists around the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Project to try and send artmobiles overseas as suggested by the State Department. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence as to whether or not they would like to have the artmobile visit their school. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains plans, blueprints, and correspondence that occurred during its development.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Manufacturer of custom van bodies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Presidential Inauguration. Artmobile was State of Virginia's entry in President Johnson's inaugural parade, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed exhibition for the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Magic City Bank had an exhibit trailer, which was a prototype for artmobile.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations, programs and correspondence.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reprints of A.I.V. article \"Galleries on Wheels\", 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VFWC was instrumental in getting the artmobile started. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, newspaper and magazine clippings and schedule 1961-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedules, Plans, correspondence and photographs, 1960-63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and plans for 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening, Middleburg, Virginia, 1962.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner and Invitation List. Artmobile II Opening. Middleburg, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Facts sheets, invitations and photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dedication. Dates- 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- correspondence re. funding, construction, photographs, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans for Collegiate Artmobile to visit Virginia Colleges. 1964-65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal to ask the Carnegie Foundation for funding for a collegiate artmobile, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening, Ashland, Virginia. Correspondence and programs, Sept. 1966. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Meeting of Virginia college Presidents regarding the Artmobile project to service college and University campuses. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, David Pittman, Peter Mooz. Subject- Artmobile workshop: program agenda, exhibition schedules, etc. \"Artmobile Chairman Handbook\". Dates- 7/74 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fruehauf Trailer Co., artmobile manufacturer, 1965-66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed by Lt. Governor Mills Godwin, attempted to establish a Virginia Arts and Crafts Museum. Newspaper clippings, correspondence, 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets, prints, minutes and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Arts and Humanities Summer Institute. Sponsored by the Va. Commission of Arts and Humanities at the Museum in 1971. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Informational pamphlet from the President's advisory Council on the Arts, 1963. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Art Council of America and Governor's office. Subject- invitation from the Art Council of America to be represented in this council, etc. Dates- 10/65-11/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from George Cruger (Editor, AIV), J.M. Brown and Wm. Gaines. Subject- Microfilming of AIV and checklist of Articles to date, Spring 1974. Catalog: \"Image\", George Eastman House, 1973. Dates- 11/73 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memos and Correspondence. Dates- 1960 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Search for a designer for the magazine. Letters to and from possible candidates. Dates- 1964.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Various issues of the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- A.P. News clips regarding Museum, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the portrait bust of John Marshall.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- A.P.V.A. Pamphlets and Correspondence, 1972. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- agenda for the APVA (Association for the Preservation of VA. Antiquities) meeting held at VMFA, roster of exec. committee and trustees, etc. Dates- 3/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of members and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and reports from annual meeting 1964-68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- General correspondence to Directors of various museums regarding membership, loans of art works, invitations, etc.  Fact sheet on Artist housing in Soho. Dates- 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence and minutes from annual meeting 1970-71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Annual meeting: reports, minutes, events schedules, officers, membership. Code of Ethics for ilicit traffic in works of art. \"Reproductions and Reproduction Rights For Museum-Owned Objects\", 1962, American Federation of Arts. Dates- 1972, 1979 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes from meeting. Dates- 5/59 - 6/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposals for membership. L. Cheek was membership chairman. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes of meeting. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report on dangers of lending objects to institutions for special exhibitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Questionnaires, 1962. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Lady Nancy Astor. Subject- Donation of her portrait by John Singer Sargent and china. Dates- 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"B\". Subject- varied. Dates- 9/50-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with institutions, individuals or corporations beginning with the letter \"B\" and the VMFA loan-own art service policy statement. Dates- 6/62-10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Transcript of remarks by Frank Stanton on his award of the Michael Friedman Medal of the Architectural league, magazine clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Ballet and L. Cheek concerning the beginning and future of a theatre at the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, A. Ballet and trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Baltimore Museum of Art calendars of events, correspondence about museum practices, etc. Dates- 9/48-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Miss Iris Barry. Subject- giving a film lecture, newspaper clipping, etc. Dates- 8/49-5/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, T.C. Colt, Jr. and L. Cheek, Jr. Subject- general information about Barter Theatre (announcements, VA Highlands Festival schedule, etc.) and correspondence about the Museum sponsoring drama productions as a state extension service. Dates- 12/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Barzansky Galleries. Subject- invitation to a Harriet Fitzgerald exhibition at the Charles Barzansky Galleries, N.Y.C. Dates- 1/58-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Governor Battle. Subject- thank you notes, etc. Dates- 11/50-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlet of the Museum's 1945-6 season. Dates- 1945-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. Bellows. Subject- the proposed acquisition of one of two of Bellows' paintings (Kids, The Teamster) which the museum didn't purchase. Dates-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Fitzgerald Bemiss as a Trustee, correspondence about Board of Trustees and Membership Committee business, gifts to VMFA, etc. Dates- 6/54-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- visit to Florence, Italy and to see Bernhard Berenson. Dates- 1/56-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition: Eugene Berman's sketches for the Metropolitan Opera's Barber of Seville. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Brown was a chairman of the panel of judges for the Franklin Mint Bicentennial Medal competition in the state of Virginia, official rules and entry form for competition, etc. Dates- 4/72-5/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- House Bill no.131 to keep Va. interstates free of billboards, response letters from Va. politicians, etc. Dates- 2/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Mr. Paul Bird as a lecturer on contemporary painting, a transcript of the lecture, etc. Dates- 1/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek and J.M. Brown. Subject- Accessions: Chinese objects. Requests for loan of A. Wyeth paintings from Wyeth Estate, invitation to Clare Boothe Luce to address 17th Annual Va. Public Relations Conference, letter of inquiry regarding the artist Lucille Sinclair Douglas. Accessions: Dubuffet prints, period chairs, pedestals, chest, Aphrodite Torso, female draped figure, Claude Hirst painting, Roger Barr painting. Eric Christmas and Festival Theatre, Ontario, Canada, proposal around building of Bristol Chapter House, furnishing of Agecroft Hall, expansion of University curriculum to include Art Historical Studies in surrounding colleges, Hogarth exhibition, World Museum Fund with description of event and agenda.  Text from \"Country Beautiful, America's Finest Small Museums\", with description of VMFA. Accession and gifts: \"The Little School Girl\", Degas; Amphipolis Gold. Dates- 1959-70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek. Jr. Subject- By-Laws revised and adopted 1951, Organic Laws, announcements, replies, agenda and minutes of annual Board meeting 1950, committee reports, listing of Trustees, etc. Dates- 5/50-5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Col. H.W. Anderson. Subject- annual Board meeting, listing of Trustees 1952-3, announcement of annual meeting, VMFA Annual Report of the Director 1952, etc. Dates- 5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement, replies, agenda and minutes of annual meeting 1953, notice of amendments to the By-Laws, a VMFA report/essay \"The Need for Completing Its Addition\", etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- annual Board meeting minutes 1953, 54, VMFA Annual Report of the Director 1954, notice of amendments to the By-Laws 1954, announcement, replies and agenda for meeting, etc. Dates- 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- minutes of Trustees annual meeting 1955, working papers for the meeting, committee reports, By-Laws revised and adopted 6/54, listing of insurance coverage, Museum events, etc. Dates- 5/55-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mid-year meeting and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement of annual meeting and luncheon for the Trustees, R.S.V.P.'s, attendance list, etc. Dates- 4/56-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Index cards with names and addresses of current and former Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff and Board Presidents. Subject- Board of Trustees committee appointments, appointment letters and reply letters for the following years: '45/6, '46/7, '47/8, '48/9 and '49/50. Dates- 1945-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- letters of appointment to serve on Trustee committees and reply letters, listing of committee appointments 1949-50, etc. Dates- 7/49-7/50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Henry W. Anderson (President of the Board). Subject- appointment to committee letters and reply letters, etc. Dates- 8/51-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence By L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of committee appointments. Dates- 1954-5. Correspondence- Subject- listing of committee appointments. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of Trustees committee appointments (1956-7), reply letters to committee appointments, etc. Dates- 8/56-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- notes on planning, cost estimates, invitations, replies to preview of A.D. Williams collection and dinner honoring Governor and Mrs. Battle, etc. Dates- 10/52-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Museum events, working papers for the annual Board meetings and agendas, nominations to the Board, excerpts from the Board minutes, committee reports, etc. Dates- 2/37-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains miscellaneous correspondence, memos and minutes from meetings. 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board annual meeting minutes 1955, By-Laws revised and adopted 1954, By-Laws and suggested revisions 1956, listing of Trustees 1955, Committee appointments 1954-57, etc. Dates- 1954-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Roster of the VMFA Board of Trustees. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- announcement, replies for Board meeting, listing of Trustees 1952, 53, notice of meeting cancellation because of inability to secure a quorum, etc. Dates- 1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- announcements, replies, agenda and minutes of Trustees special meeting and Executive Committee meeting, etc., 1/54-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of the Board of Trustees annual meetings. Dates- 1934-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- suggested plan for developing VMFA collections by Colt (1945), announcements and replies for Board annual meeting , prepared budget 1947-8, listings of Trustees, officers and committees, etc. Dates- 10/45-6/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- sightseeing boat tour on the James River. Dates- 2/57-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mrs. John H. Bocock as a Trustee, Board of Trustees, Entertainment and Accessions Committee business, art lending service information, gifts to VMFA, etc. Dates- 5/51-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek writing introduction for A. Aubrey Bodine's photography book: The Face of Virginia, draft of the foreword/introduction, biographical information on Bodine, etc. Dates- 3/62-1/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- letter to Hon. Armstead L. Boothe about appointment to Board. Dates- 6/64-6/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Jr. primarily with the Sheraton Hotel. Subject- a cocktail party held on Cheek's Boston trip, guest lists, invitations, etc. Dates- 10/58-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. with various Boston Museum staff. Subject- museum practices, loans, speaking engagements, exchange publications, etc. Dates- 11/47-10/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loaning objects to VMFA, correspondence about museum practices, lecture given by Cheek in Boston about art in Virginia, etc. Dates- 3/55-4/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and V.Y. Bowditch. Subject- Bowditch biographical information, drama schedule 1955-6 season, evaluations, theatre operations, etc. Dates- 7/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Theatre director of Pasadena Playhouse 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. with E.G. Bowles and the Public Works Administration (PWA). Subject- landscaping the Museum and bids complying with PWA, construction contract 4/36, classifications of labor/workmen and wage rates 12/34 and Form Of Bond-VA 4/36. Dates-3/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's membership to the VMFA Board of Trustees, Museum events and daily operations, the following Museum publications: Virginia Museum of Fine Arts By-Laws, 1st Annual Financial Report of the Curator (4/13/35-6/15/36) and Virginia Museum of Fine Arts 1st Quarterly Financial Report of the Curator (5/1/36), listing of suggested prospective Trustees, listing of Trustee committee appointments 1937, sketches of Museum floor plan, etc. Dates- 12/34-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, Museum publication: Prospectus of Program Season of 1937-38, radio talk show transcript 3/38, etc. Dates- 6/37-6/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, PWA grant offer 1938 to the Museum, letter from VMFA rejecting the offer of a PWA grant, copy of the resolution that Henry P. Strause, Esq. be named first Honorary Benefactor of the Virginia Museum of Fine Arts, etc. Dates- 7/38-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, Museum events and daily operations, Trustee committee appointments 1939-40, essays by Branch about WWII, financial situation of the Museum 1939, creation of a \"Ways and Means\" committee, etc. Dates- 8/39-6/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe Branch. Subject- Branch's presidency of the VMFA Board of Trustees, staff organization (1940), plan for VA artist fellowships, \"Art in Virginia\" an article written by Colt, Museum events and daily operations, Museum investments and gifts to the Museum, biographical information on Branch, Trustee committee appointments 1940-1, etc. Dates- 6/40-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Blythe W. Branch. Subject- Branch's presidency of the VMFA Board of Trustees, biographical information on Branch, Museum events and daily operations, Museum investments and gifts to the Museum, winner of the first Webster S. Rhoads medal, etc. Dates- 5/41-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Thalhimer Brothers, Inc. Subject- use of VMFA's Medieval Gallery for British Embassy reception. Dates- 6/1/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- brochures for the VA Dance Society, VA Film Society and VA Chamber Music Society. Dates- 1963-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loaning objects to Brooklyn Museum, correspondence about museum practices, exchange publications, etc. Dates- 2/48-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- essay written by J. Carter Brown for New York University. Dates- 5/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- news releases about James M. Brown becoming VMFA Director, newspaper clippings, photos of Brown, Report of the Director 1972-3, etc. Dates- 6/69-11/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff and Trustees. Subject- plans for receiving the new Director. Dates- 6/69-7/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Fred Haseltine (Assistant to Director). Subject- list of objects being offered to the Museum including: antique gold boxes, ornaments, clocks, etc., letters to the executors of the Ailsa Mellon Bruce estate, correspondence with Paul Mellon, news releases and news paper clippings about gift, photos of the galleries, etc. Dates- 8/70-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Mr. David K.E. Bruce as a Trustee, Board of Trustees business, gifts to VMFA, etc. Dates- 5/48-3/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed acquisition of the Brummer collection of Medieval art, report on collection, list of objects, correspondence to Paul Mellon, etc., later sold to Duke University. Dates- 12/65-4/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and the Smithsonian Traveling Exhibition Service. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Exhibition 1958, includes layouts and photos, etc. Dates- 3/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's membership on the Fine Arts Advisory Committee to U.S. Commission for the Brussels Universal and International Exhibition of 1958, committee meeting minutes 1957, committee roster, etc. Dates- 2/57-2/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- American folk art exhibition organized by the Smithsonian for the Brussels International Fair 1958, Cheek was an advisory committee member, loan, catalogue and installation lists, information on slide presentation- \"Art in American Museums\", etc. Dates- 3/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- sketches, plans of the U.S. pavilion for the Brussels International Fair 1958, information and listing of objects in the \"American Folk Art\" exhibition, etc. Dates- 1/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Harry Bertoia (Sculptor). Subject- the acquisition of a Bertoia piece (Tree) shown at the Brussels Fair. Dates- 8/57-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr. Subject- D. Tennant Bryan as a Trustee, Board of Trustee and Membership Committee business, etc. Dates- 10/47-6/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. D. Tennant Bryan. Subject- Trustee/Museum business, membership to the Museum, etc. Dates- 5/51-9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. J. Stewart Bryan. Subject- Trustee/Museum business, loan of paintings for inaugural exhibition, gift to Museum, etc. Dates- 6/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Thomas P. Bryan as a Trustee, Board of Trustee business, etc. Dates- 9/58-11/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- congratulatory letter to Mr. Thomas P. Bryan on election as Mayor, Date- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. to Buchholz Gallery. Subject- proposed purchases, loans, exchange publications, etc. Dates- 4/47-8/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VMFA budget exhibit 1959 and 1966-8, resume of the VMFA Trustees before the Appropriations Committee 1964, budget requests 1960-1 and 1962-4, etc. Dates- 9/61-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of Governor's Budget Advisory Board 1965, outline for capital outlay funds dinner, invitation letter to Trustees, etc. Dates- 5/65-6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed 25th anniversary budget, correspondence about obtaining a Budget Committee for the 25th anniversary program, anniversary publications, etc. Dates- 1/60-3/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about Capital Outlay Commission dinner and theatre, etc. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- suggested order of events for Budget Advisory Committee meeting, invitation letters to the Presidents of VMFA affiliate chapters, draft of end of dinner announcement, etc. Dates- 7/61-9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- list of Governor's Budget Advisory Committee 1969, review of Museum's request for capital outlay funds to construct North Wing and theatre, etc. Dates- 4/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- roster of Governor's Budget Advisory Board 1967, outline for Cheek's remarks to Budget Advisory Committee, etc. Dates- 1/67-5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- roster of Governor's Budget Advisory Committee members 1972-4, request for hearing, dinner invitations for Advisory Committee, etc. Dates- 5/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers and news releases about the addition to the Museum. Dates- 6/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to other U.S. art museums. Subject- installation and advice on purchasing an air conditioning system. Dates- 5/53-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Wm. Rhodes. Subject- correspondence about air condition system failure. Dates- 9/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- addition and renovation to the Museum, proposals and preliminary studies by Mr. Merrill Lee, Architect, copy of a Architects and Consulting Architects Contract, etc. Dates- 12/49-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard primarily with Architects M.C. Lee and Eggers and Higgins. Subject- schedule of interior installation, list of architects bills, building inspection, review work/progress, photographs of progress of additions to the Museum 1953, etc. Dates-12/48-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the proposed addition the VMFA 1949-50.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Baskervill and Sons (architects and engineers) preliminary drawings, schedule for construction project, etc. Dates- 7/64-12/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Attempt by the United Daughters of the Confederacy to expand their facility on the block. The Museum's and the Virginia Historical Society's attempts to stop them and acquire the land for their own use. Dates- 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about equipment needed to supply music to members' quarters, lobby area and galleries. Dates- 7/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- information about sound equipment. Dates- 6/54-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information on purchasing folding and stackable chairs. Dates- 8/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- extending the rise of freight elevator. Dates- 8/53-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- proposals and layout for a film production unit to be located in the new wing (to make interpretative sound films). Dates- 7/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information, blueprints on changes to and installation of kitchen equipment. Dates- 6/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- the proposed purchase and installation of photographic equipment, correspondence with other art museums about creating and maintaining a darkroom and staff photographer. Dates- 8/53-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- blueprints of check room, information about coat, overshoe and umbrella racks for the Museum check room. Dates- 9/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information about seating for the theatre and auditorium, blueprints of the auditorium. Dates- 8/53-8/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of machinery and equipment needed for the new shop. Dates- 8/17/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about chandelier for front entrance of Museum. Dates- 9/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M.C. Lee, Architect. Subject- alterations and additions to the Museum, color samples and specs for painting and finishing, etc. Dates- 8/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains amounts of pledges and names of donors giving money for new galleries.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Gallery floor plans: VMFA, Brooklyn Museum, Victoria and Albert, British Museum, Art Institute of Chicago, Walters. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Merrill C. Lee, Architect. Subject- progress photographs and negatives (north wing). Dates- 5/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Architects: contractual agreements, VMFA design program, Capital Outlay Appropriation, alteration, additions, cost estimates, expenditures, contracts for Doyle and Russell and Merrill C. Lee (AIA). Dates- 12/48 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- blueprints of a darkroom and information about and catalogs of photographic equipment. Dates- 8/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns securing restricted material such as steel for post-wartime construction. 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Mrs. J.G. Pollard. Subject- Economic Stabilization Committee (ESA) search for qualified women employees, ESA headquarters to be located in Richmond, federal government regulations that established ceiling prices for all commodities and services (except those specifically exempt) upon the basis of prices in effect between 12/19/50-1/25/51. Dates- 2/51-12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Final Statement Museum Of Fine Arts Richmond, Virginia\", contract dated June 9th, 1952. Financial statement/contract from Doyle and Russell Construction. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Terra cotta statues at the North entrance to the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Original Building: \"Manual On The Planning And Execution Of State Capital Outlays\", 9/1/44, contracts: Doyle and Russell (Building Contractors) and Merrill C. Lee (AIA). Detail for additions and deletion from original building. Design contracts and inspection reports. Dates- 1952 - 55, 1966, 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Brochures, drawings, correspondence 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- information on red carpet and padding for the front entrance. Dates- 8/51-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Meeting with Interior designers 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding plants around the Waddy fountain. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- the Richmond Junior League's proposed campaign to raise money for construction of South wing for the Museum, working papers for and final copy of the pamphlet: \"The Virginia Museum Needs Wings\", etc. Dates-12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- renovations and construction of a new wing to the Museum, Cheek's comments on preliminary and revised drawings, and construction progress, Architects and Consulting Architects Contract (Merrill C. Lee, Architect, Eggers and Higgins, Consulting Architects), an essay \"The Virginia Museum of Fine Arts Need for Completing Its Addition\", etc. Dates- 1/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information relating to addition to Museum, several reports including: Building Program 1950-1, Addition to Building 1949-50, The Virginia Museum of Fine Arts The Need For Completing its Addition, History of Appropriation for Construction (1948-53) ,also, notes for Sen. Gray about Museum addition (1952). Dates- 1948-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- miscellaneous daily and general building maintenance. Dates- 2/60-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Governors Stanley and Battle. Subject- improvements on Museum building and completion of new wing (1954). Dates- 12/50- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Drawings and Correspondence 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject-construction/installation of American and English galleries, alterations to Medieval hall, blueprints, etc. Dates- 7/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- information on purchase of steel lockers, blueprints, etc. Dates- 4/54-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about ordering office furniture designed by Eero Saarinen. Dates- 8/64-1/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Alfred Geiffert, landscape architect. 1949-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- analysis of situation concerning the parking lot and planting, etc. Dates- 8/66-10/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Budget Estimates for landscaping the grounds of the Museum around addition, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- information and bids on purchasing lighting and steel storage equipment. Dates- 11/53-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- info on purchase of supplies for dining room/cafeteria: placemats, traymats, doilies, napkins, matches. Dates- 1/55-7/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains plans for the Waddy Fountain, and furnishing brochures. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Carl Milles, donor of the Little Triton Fountain 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- marble chips for garden court fountain request for information about installation of mosaics in garden court. Dates- 8/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed purchase of wall coverings for new galleries (movable partitions and door headers). Dates- 2/54-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- commission to decorate behind refreshment counter in the new building, commission switches from Julien Binford to Richard Q. Yardley. Dates- 6/54-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Richard Q. Yardley Mural in the refreshment room. Also contains information on Julien Binford who was originally retained to do the mural before Yardley. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., Mrs. J.G. Pollard. Subject- Public Works Administration Grant for Museum addition, application to National Production Authority (N.P.A.) for assistance in obtaining materials for proposed Museum construction. Dates- 10/35-9/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- staff requests for facilities and equipment, list of private funds for Museum addition, Board resolution about the construction on the building, etc. Dates- 7/48-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- drawings of proposed Museum addition, Special Building Committee procedure in dealing with Appropriations Committee of the House of Delegates, etc. Dates- 6/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and New York City Museums: Metropolitan, Guggenheim, MOMA, and Whitney. Subject- Extended loans of paintings and sculpture for the VMFA's new wing of Contemporary Art, scheduled for Jan. 1970. Correspondence from L. Cheek to John Walker to address the Collectors Circle. Dates- 7/69 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- report on budget dinners 6/65, Cheek's itinerary for talks 1965, etc. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and Joseph Whitehead (Interior Designer). Subject- Interiors of the New South Wing, Fabric sample enclosed. Correspondence between L. Cheek and Bernard Bothner of the Brooklyn Museum. Subject- Resources for slides to accompany the reinstallation of the Egyptian Gallery. Dates- 6/66- 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposals for gallery orientation theatre systems. Memo To VMFA staff regarding upcoming Fellows meeting. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to other museum directors. Subject- Request for slides of recent building additions to their respective museums, to prepare for a presentation to the Virginia Legislature. Dates- 4/65 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey conducted by L. Cheek to determine the necessity of a sprinkler system in galleries. Letters, cards of response and survey results. Dates- 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains brochures and catalogs 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photos of preliminary architect's drawings, preliminary cost estimates, etc. Dates- 7/62-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Information concerning the MOMA 30th Anniversary, building funds drive with text of building/expansion plans, \"Toward The New Museum Of Modern Art\" , 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- review of presentations to the Art Commission, photos of other art museum additions, statements about addition (Mr. Wallace K. Harrison and Mr. Frederick D. Nichols), etc. Dates- 9/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sculpture garden fountain and the renovation of the theatre lobby. Dates- 7/76 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Wm. Higgins. Subject- Membership drive/ New Wing opening, progress reports to members of the Board, financial statements: cost estimates, design fees, operating fund, construction timetables. Fact sheet relating to history of VMFA. Signficant dates for the Virginia Museum, \"History of North Wing Construction\". Dates- 4/71 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nicholas and C. Chamberlayne (Hardwick). Subject- Progress timetable, architectural engineering/ landscape/ interior design. Revisions/ alterations to construction, cost estimates, instructions to bidding contractors. Review by building committee of the Board of Trustees. Minutes of the building committee, 2/25/72, drawing/plans. Dates- 1971 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nichols and C. Humelsine. Subject- North Wing plans, justification and description, funding, appeal to legislature to win support for North Wing funding. Rosters: Appropriations committee, finance committee, Governor's budget advisory committee. Essay- \"The Unique, Pioneering Virginia Museum\" and \"Facts on the Virginia Museum of Fine Arts\". Dates- 1967, 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson and L. Cheek. Subject- Original design of North Wing per L. Cheek and Baskerville (AIA), later rejected by the Arts Commission. List of significant dates with regard to North and South Wing additions. Minutes of Special building Fund committee, 3/11/65, original building proposal, photographs. Bulletin vol.26, no.2 10/65. Dates- 9/65 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs/Plans/Drawings from Baskerville and Son (AIA) for:entrance hall, basement/sub-basement, site plan elevations/cross section, gallery floor plans and views of entire block.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, D. Nicholas and L. Noland (building committee). Subject- Construction, architectural engineering, capital outlay, construction bids, plans and contract documents. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- blank order forms labeled VMFA NPA Regulation No. 4. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. J.G. Pollard. Subject- National Production Authority (NPA) regulations, order listings for maintenance, repair and operating (MRO) supplies, regulations about using the DO-97 rating (Form used to obtain MRO supplies), quota for the 4th quarter 1951, etc. Dates- 3/51-7/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about construction and funding (some PWA) of a wing to the Museum, publication: Working Relationships Between Private Architects and Engineers and the Commonwealth of VA (2/44, Governors' office, Division of the Budget) and The General Conditions of the Contract for the Construction of Buildings (standard form of the American Institute of Architects). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Doyle and Russell, Building and Industrial Construction. Subject- Bronze founders tablets, frames, building inspections and taking over and operating the building 10/35. Dates- 8/35-10/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Peebles and Ferguson, Architects, Norfolk. Subject-blueprints (including detail of the Portuguese Room dated 9/18/35), maintenance and furnishings (benches, plaques, interior painting, etc.) for the Museum. Dates- 4/35- 6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Ferguson, Meakin and Moore, Architects, Norfolk. Subject- reproductions of drawings of proposed south wing, drawings, bids, etc. Dates- 10/37-5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans and Correspondence 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photos of drawings showing the proposed additions and alterations to Museum. Dates- 1965. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Plans and correspondence regarding the memorial plaques around the building: R.E. Lee Camp, Waddy and the Old Dominion Foundation fountains. 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- construction/installation for the Pratt collection, blueprints, progress reports to Mr. John Lee Pratt, etc. Correspondence with Milton Samuels of French and Company who designed the installation, including quotes for fabric, carpet, cases, carpentry, lighting (including the chandelier). Cheek asked Pratt to fund it and he agreed. Lots of invoices. Dates- 6/54-5/55.   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Baskerville and Sons, Architects, 3/11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about building models, preliminary drawings, furnishing and equipment catalogues, etc. Dates- 4/65-12/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence and statements from Marcellus Wright and Son. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and Merill Lee (architect) and Chairman of the Building and grounds committee, concerning construction of the service area. Dates- 1/59 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Eggers and Higgins, Architects. Sketches and drawings 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., J.M. Brown and Erwin H. Will (VMFA President of the Board). Subject- all aspects of construction of the South Wing, additions and alterations to Museum, landscaping, fountain, parking lot, etc. Dates- 12/66-3/73. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of South Wing construction conferences 1969-72, outline of construction to South Wing, etc. Dates- 1969-72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Governors Dinner/Event in celebration of the South Wing: program agenda, menu, dedication plans, News Media reception, Rosters: House of Delegates, Senate, Trustees. Key presented to Governor Linwood Holton donated to the archives by Anne Holton November 3, 2022. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Capital Outlay requests, individual project descriptions, preliminary plans, tabulations of construction bids, estimated income sources, floor plans, budgets, invoices, Executive Committee Minutes and Building Committee Minutes. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Erwin Will. Subject- New duct layout for the South Wing attic space: revisions necessary due to mistakes in original drawings and improper work. Financial statements. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA Charter, Act of March 27, 1934. Design program (2/18/49) Phase II, museum enlargement, boiler replacement, contract cost estimates, committee no.279-A, addendum no.7 to the drawings and alterations to VMFA. Theatre light control system, weekly project inspections. \"General Conditions Of The Contract For Capital Outlay Projects\". Dates- 2/52 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and members of the building committee. Subject- Proposed additions, rejection of north facade by Arts Commission. Excerpts from Minutes of Art Commission Meeting, 6/4/65, 7/9/65, 7/29/66. \"The Virginia Museum Opens The New South Wing\", Press package, Brief History and Signficant Dates of VMFA, photographs. Dates- 1965 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Supplemental Agreement #2: Additions and alteration to various aspects of structural design contracts. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Interior construction and design. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment purchasing list, blueprints of theatre, installation of theatre and projection equipment and an orchestra lift, local building committee meeting minutes, etc. Dates- 7/53-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre equipment: bronze stands and velvet ropes. Dates- 1/55-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Construction blueprints and plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letter of invitation to Trustees, former and current, to celebrate the construction of the North Wing, seating arrangement and timetable for event. Letter to Gov. Holton concerning ground breaking ceremonies and gala dinner. Dates - 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Col. Anderson. Subject- proposal for theatre for Museum, possible recreation center for armed forces stationed in Richmond. Dates- 2/51-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Waddy Memorial and Triton Fountains 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- B.F. Ruskin and Associates 1953-55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- committee reports on funding for construction of addition to the Museum, schedule of payments to date (12/4/50 and 12/20/50). Dates- 10/50-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- additions and alterations to VMFA 1955, list of Museum alterations and additions to date 6/15/55 by Merrill C. Lee, Architect, VMFA Noise Survey CA 9687 (1955), blueprints, etc. Dates- 1/54-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains architectural plans for the first addition to the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- cost estimates/proposed funding for Museum addition, copy of the resolution to establish a Local Building Committee, announcements, replies and minutes of Local Building Committee meetings 1950-2, etc. Dates- 1/46-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Local Building Committee, 1951-54. Information regarding the local contractor. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- minutes and outlines of VMFA Building Committee meetings 1952-3. Dates- 6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr., and G.D. Gibson (Chairman of the VMFA Building Committee). Subject- addition to Museum building, listing of additions and alterations to the building, agenda and minutes of Building Committee meetings 1953-4, etc. Dates- 9/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- addition to Museum building, minutes, announcement and agenda for VMFA Building Committee meetings 1954-5, list of contributors to Museum Building Fund, etc. Dates- 7/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by G.D. Gibson (Trustee). Subject- installation of Museum equipment, minutes of the Buildings and Grounds Committee meetings 1955-6, etc. Dates- 9/56-12/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains lists of expenditures, list of private donors with amounts donated for the addition to the Museum.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA Local Buildings and Grounds Committee meeting minutes 1948-56, listing of committee meeting dates 1948-56. Dates- 1948-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard to Senator Garland Gray. Subject- information about planning costs for addition to Museum building, Museum business and events, etc. Dates- 5/51-7/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of the Museum's members bulletin. Vol.1, No.8, Vol.7, No.'s 1,4and6, Vol.8, No.'s 5and8, Vol.9, No.'s 1,2and4, Vol.10, No.'s 1,2,7and8, Vol.11, No.'s 1,2,3,4,5,6,7and9, Vol.12, No.'s 8and9, Vol.13, No.'s 6and9, Vol.14, No.'s 1,3,6,7,8and9, Vol.15, No.'s 3,4,5,6,7,8and9, Vol.16, No.'s 1,2,3,4,5and6. Dates- 9/46-2/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Bulletins with general information and a survey of sources of income, private and public, from various museums. Dates-1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 1962-1966 Donations, Trustee File. Dates- 7/55 - 12/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and members of Board of Trustees. Subject- Revision of By-laws and Memorial Fund Policy, revisions and recommendations, minutes from sub- committee on By-laws. Dates- 1958 and 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA By-Laws (revised and adopted 5/51, 5/53, 6/54), Notice of Amendments to By-Laws (6/50, 5/53, 6/54), VMFA Organic Laws, etc.. Dates- 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Senator Byrd. Subject- amendment of IRS code Sec. 863, exempting works of art loaned for exhibition in this country from federal estate taxes. Dates- 7/51-10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard, and L. Cheek, Jr. to individuals, institutions and companies beginning with the letters Ca-Cn. Subject- varied, including four letters from Alexander Calder about Museum purchase of one of his pieces. Dates- 8/45-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek. Subject- Loans of artwork, Trustees, Fellows, Mary Callery (juror, 1963 Va. Artists Exhibition). Accessions and gifts: Tree, Callery; Han Dynasty pottery; Nanny, T. Sully. Dates- 2/59 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and P. Near to J. Brun and H. Jucker. Subject- Acquisition and provenance of Caligula, Newspaper clippings. Dates- 1971-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, his term as Treasurer of the Fellows. Dates- 1/60-6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. John Canaday (from University of VA). Subject- Christmas card design by Canaday, loan of a sculpture show, jobs, etc. Dates- 5/49-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Capital outlay requests for parking area, South Wing, Entrance Improvements, Expenditures and revenues for the year ending 6/1960. \"Instructions for Form c-54-A (individual project report)\" from Commission on State Capital Outlays and Means of Financing. General Endowment Income 1960-61; Capital Outlay for Galleries, landscaping, Egyptian gallery and North Wing, 1935-60. Collections for which there is inadequate exhibition space, list of cultures that are not represented or under-represented, roster of members serving on the \"Commission on State Capital Outlays and Means of Financing. Dates- 1960-61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Includes Frances Benjamin Johnston acquisition.","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- officers from the Carnegie Corporation visiting Richmond and the Museum. Dates- 8/55-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to F. Anderson (Carnegie Corporation). Subject- Experimental use of Carnegie Collection of Materials for the Instruction of American Culture and funding of Collegiate Artmobile IV. Proposal, '\" An Artmobile for Virginia Colleges\", March 1965, Supplement, A Statewide Stimulus for Education in the Humanities, Statement of purpose, photocopy of partial grant payment. Dates- 1/58-7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Carnegie Corporation of New York and Carnegie Institute, Department of Fine Arts. Subject- Frances Benjamin Johnston acquisition, requesting a grant, requesting loans for inaugural exhibition, counsel on museum practices. Dates-8/35- 12/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Carnegie Trust. Subject- a visit to Richmond by officers of three British Carnegie Foundations, information on Carnegie Trust 1954, etc. Dates- 8/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Secretary of Carnegie Dunfermline Trust. Subject- Roster of Carnegie Delegation visiting VMFA; Annual Report- Carnegie Dunfermline Trustees, 1960. Dates- 7/59-60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- job of Technical Director of the Theatre Division, etc. Dates- 6/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lists of 25th Anniversary donors; VMFA presidents and terms of office 1935-60. Essay- \" The Arts In Virginia\", Walter S. Robertson (Pres. VMFA). Essay- \"Collecting In America\", Alfred Frankfurter (editor and Pres., Art News) Dates- 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of orders for and purchasers of the Healy's Sitters Catalogues, thank you notes for exchange publications, list of relatives of Judge John Barton Payne, etc. Dates- 4/51-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Jaquelin-Ambler Portrait catalogs, listing of the members of the Jaquelin, Ambler and Broadnax families. Dates- 11/48-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- a fellowship set up by the Catherwood Foundation (previous owners of the Dali jewels) to be used for travel/education in Europe, information about transporting Dali jewels from the Museum. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fellowship for artists provided by the Catherwood Foundation and awarded and administered by the VMFA that year. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. William Gaines and L. Cheek, Jr. and M.B. Christison (Assistant Director). Subject- Gaines biographical information, Catherwood Foundation fellowship recipient, application, recommendations and award letter for fellowship, list and some photos of work submitted, etc. Dates- 3/56-11/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual luncheon and tour. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Century Lighting Co. Subject- lighting for the artmobile and theatre, etc. Dates- 6/53-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets from the Convention and Tourist Bureau (Richmond). Dates- 1949-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- pamphlets from the Virginia Chamber of Commerce. Dates- 5/49-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Restoration of Old Botetourt Hotel, Gloucester, Va.; Programming instructions for \"Civilization\" Film Series; proposal and budget for statewide broadcast of Affiliate promotionals. Rosters of Affiliates, Chapters and Confederation Officers; Minutes of \"Executive Committee Meeting\", 10/72; maps, postcards, press release, newspaper clipping, photographs. Dates- 2/67-7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Winter Conference agenda, participants, newspaper clippings. Dates- 12/71-3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal and budget. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Affiliate/Chapter offices Museum Lecture/Tour; roster of Officers, speaking schedule, events, remarks for each engagement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prototype for letter to be sent from all VMFA Chapter Presidents to convince Legislature of the need for new building. Dates- 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dali Jewels. Date- 7/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. primarily to realtors and lawyers. Subject- sale of Cheek's property \"Faraway Farms\", information on sale of Chebry Co. property, etc. Dates- 6/50-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to T.C. Colt, Jr. from L. Cheek (when he was Chairman of the Fine Arts Department at The College of William and Mary and when he was Director at the Baltimore Museum of Fine Arts). Subject- art in Virginia, counsel on museum practices, etc. Dates- 12/36-1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- The retirement of L. Cheek, Trustee dinner honoring the occasion, presentation of \"Thomas Jefferson Public Service Award\", with remarks by Lt. Gov. F.G. Pollard; South Wing construction; invitations and newspaper interview with L. Cheek. Dates- 1/65-3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W.S. Robertson and Morton Thalhimer. Subject- Letters of moral support, press releases and newspaper clippings announcing the resignation of L. Cheek (decision later recanted). Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding L. Cheek's reconsideration of his resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resolution from VMFA Council regarding the outstanding contributions of L. Cheek. Includes letters from and too supporters. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Replies to his reconsideration of resignation. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Text from interview of 11/2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- PR, decorations, lecture, etc. Dates- 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memo to VMFA staff, PR, agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Thank you letter from by a class participant.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding classes at the museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Registration information and class lists.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison. Subject- installation of collections and exhibitions, Museum programming, biographical information, etc. Dates- 10/54-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Muriel B. Christison, Associate Director for Collections and Education.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. Christison. Subject- scripts and working papers for children's radio program (\"Treasure Trails\" on WRVA), listing of slides for Season Survey and information on a Life magazine photo exhibition entitled \"Egypt\". Dates- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vouchers and receipts for travel expenses, 1948-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Christmas cards received by the Museum, a copy of the Museum Christmas card (1956), Information about a Christmas tree in the Members' suite, etc. Dates- 11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Commission of Virginia Artists to design Christmas Cards; rosters: Board of Trustees, A.A.M.D., newspaper clippings, cards, photographs. Dates- 1966-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- ordering Christmas decorations. Dates- 11/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Peter Mooz, Sydney and Frances Lewis. Subject- Remarks by J.M. Brown on the dedication of the North Wing and on his resignation. Andrew W. Mellon Foundation, Lewis gift of funds for Art Nouveau purchases, Noland gift of \"Rotating Sphere\", reattribution of the Jewel casket. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Controversy concerning gift of Walter P. Chrysler, newspaper clippings, and Chrysler newsletters, 1973-75. Dates- 1969 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Henry Clay Hofheimer and J.M. Brown. Subject- New wing, correspondence between the Executive Board, the closing of the Chrysler Museum School, operating budget, accessions, list of objects. Minutes of Executive Board, 2/8/72. Transcript of William L. Parkers, et al complaints vs. Walter P. Chrysler Jr. et as Defendants. Dates- 1972 - 33 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Chrysler collection exhibition at the Museum and possible Artmobile tour, listing of pieces in collection, etc. Dates- 9/49-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Loan Exhibition for Church Silver of Colonial Williamsburg, outline for proposed exhibition, budget, letter drafts to Church Wardens, lists of Episcopal Churches owning Church Sliver, Format for catalogue. Dates- 7/68-4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about proposed reproduction in miniature of a Cigar Store figure from the Museum collection. Dates- 7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed reproduction in miniature of American cigar store figures from the Museum collection. Dates- 5/56-12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek Subject- Civil War Centennial Exhibition, agenda, maps, newsletters, VMT copy of \"Certificate of Award\", conferred on the Virginia Civil War Commission. \"Virginia Joins The Confederacy, Chronology of Events November 1860 through 1861\", Civil War Centennial, 1961-1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek's membership on advisory council of the Civil War Centennial Commission, site development study for proposed Confederate Memorial Park in the Museum area, \"Report of the Preliminary Plans of the Virginia Civil War Commission to the General Assembly\" 12/59, etc. Dates- 5/59- 12/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- Programming, Ticket Stubs, newspaper reviews, news releases, photographs. Dates- 7/70 - 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Joseph Lucas (pres. Civitan Club) [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Resume of Cleveland Museum President, Sherman Emery Lee with photo, Cleveland Plain Dealer Interview \"Sherman Lee's Double Life\". Dates- 12/55-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Clopton complaint about film tickets. Dates- 2/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- membership in The Poetry Society of Virginia. Dates- 2/53-10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., Mrs. J.G. Pollard and L. Cheek, Jr., to individuals, institutions and companies beginning with the letters Co-Cz. Subject- varied. Dates- 8/45-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., L. Cheek and J.M. Brown. Subject- Geri Melchers Memorial; Minutes of Annual Meeting 1962; Minutes of Executive Committee Annual Meeting 1962; restaurant feasibility. Dates- 1957-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arranging a lecture by Mr. Alexander S. Cochran, Architect in conjunction with the exhibition \"Domestic Architecture of the San Francisco bay Region\", biographical information, etc. Dates- 10/49-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, gifts. Dates- 6/54 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the American Association of Museums (AAM). Subject- copies of the Code of Ethics for Museum Workers 1925 AAM report. Dates- 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Remarks on \"The Relation of Trustees and Professional Staff of General Art Museums\", delivered by Charles Nagel 5/17/69,  \"Code of Ethics for Museum Workers\" 1925. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rhodes Rathskellar, proposals for lunchroom: use by staff, volunteer personnel, policy on break schedule and lunch periods. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from P. Near and Peter Mooz. Subject- Checklist of the status, strength, weaknesses and needs of the VMFA. Damage report, gifts of artworks and accessions, Art Purchase Fund, press releases. Letters to Christo and Robert Rauschenberg. Dates- 1976-77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, letters, newspaper clippings and information from dealers, prices regarding possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, prices and other information relating to possible acquisitions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains photographs, and information regarding possible additions to the collection. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (assistant Director for Collections and Education). Subject- listing of possible additions to Museum's collections 1953, information and some photos of objects considered for acquisition, correspondence with art dealers, etc. Dates- 12/51- 11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- listing of possible additions to the Museum's collections, information and some photos about objects considered for Museum acquisition, correspondence with art dealers, etc. Dates- 1/53-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near, F. Brandt and P. Mooz. Subject- Reorganization of the Collector-of-the-year. 1975- Mrs. Lummont du Pont Copeland Collection on Export Porcelain. 1977- David Lloyd Kruger Collection of Contemporary Art. 1978- Hugo Weisgall Collection, list of objects, copies of scores for the Weisgall Concert catalog. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from P. Near to members. Subject- Collectors circle event with lecture by Caroline Keck. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Cultural exchange, Minutes of Executive Committee of C.A.A., 1/62, 4/62, Minutes of Annual Meeting, 1971; Minutes of C.A.A. Business Meeting, 1/62; revised draft of \"Policies and Purposes\", roster of officers, Directors and committee members; Essay- \"The Visual Arts in Higher Education\". Dates- 1/62 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List for reception/cocktail party, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Preston L. Collins (Lt. Governor). Subject- announcements of Trustee meetings, invitations to Museum events, replies, etc. Dates- 5/51-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. to staff of Colonial Williamsburg. Subject- museum methods. Dates- 7/46-12/54.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- general correspondence with staff of Colonial Williamsburg, information on Cheek's speaking engagement with Williamsburg Rotary Club, etc. Dates- 2/54-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and the President of Colonial Williamsburg. Subject- loan of display units to Colonial Williamsburg, museum practices, etc. Dates- 3/59-12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Colonial Williamsburg. Subject- correspondence about the Williamsburg Antiques Forum, publications/mailings about Antiques Forum 1964,'66,'67,'73, etc. Dates- 5/66-1/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- detailed letters about the goings-on at the Museum while Colt was serving in WWII, also letter from Mrs. Alfred DuPont about art education. Dates-8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. J.G. Pollard and others. Subject- record of Colt's military service, his resignation to serve in WWII. Dates- 11/42-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Columbia Records presented 55 recordings of the New York Philharmonic Orchestra to the VMFA in 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of \"On Fine Arts in Modern Society: A Research Proposal Prepared for the Virginia Museum of Fine Arts by the Columbia University Bureau of Applied Social Research\". Dates- 5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices with The Columbus Gallery of Fine Arts (Columbus, OH) and Columbus Museum of Arts and Crafts, Inc. (Columbus, GA). Dates- 3/51-8/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to the Board, list of appointments, etc. Dates- 1959-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Walter S. Robertson (VMFA President of the Board). Subject- roster of committee appointments 1963-4, invitations to Trustee committee appointments, etc. Dates- 8/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.G. Pollard, Jr. (President of the Board). Subject- letters of appointment to Board and replies, list of appointments, etc. Dates- 1958-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and W.S. Robertson (VMFA President of the Board). Subject- VMFA roster of Trustees 1964-5 and 1965-6, Board committee appointments 1965-6, invitations and responses to Trustee committee appointments, letter about Board term limitations (proposed limitation 2 successive terms of 5 years each), etc. Dates- 6/64-7/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Cheek correspondence as a member of Committee for International Cultural Exchange (CICE), etc. Dates- 6/61-2/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- suggested projects for Public Relations and Development committees, proposal for the Museum by the P.R. counseling firm Earl Newsom and Co., etc.. Dates- 3/54-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from State Department of Purchases and Supply. Subject- information about choosing stationary, samples for new state letterhead. Dates- 9/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"A Report to the Virginia Museum of Fine Arts 11/19/58\" from the viewpoint of its public relations information and communications responsibilities and program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- information and memos about arrangements for community college presidents to meet at the Museum. Dates- 12/70- 1/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- cooperative arrangements between VMFA and Va. community colleges, Virginia Community College System Annual Reports 1969/70 and 1970/71, proposed programs for community colleges, etc. Dates- 10/70-8/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complaints from Museum visitors about exhibitions, entrance fees, membership rates, guards, etc. Dates- 12/63-7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Museum operations: food service, VMT, membership, discontinuation of dinners in the galleries and newspaper clippings. Dates- 1974 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- guest list for complimentary cocktails in honor of officers and Museum volunteers from the Council, Jr. League and Theatre Affiliates, roster of Jr. League officers 1970-1, etc. Dates- 9/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Erwin H. Will (VMFA President of the Board). Subject- arrangements for a luncheon held in honor of officers and Museum volunteers from the Council, Junior League and Theatre Affiliates, guest list, suggested remarks for Mr. Will at luncheon. Dates- 9/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- miscellaneous Thank you's and compliments about gift and exchange publications, exhibitions, programs, the Museum in general and Cheek's responses. Dates- 2/49-2/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence from the public complimenting the museum in some way. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. and W.S. Robertson (President of the Board of Trustees). Subject- Complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 7/60-12/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters about Museum exhibitions, theatre productions, exchange publications, etc. Dates- 1/64-11/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on programs, theatre productions, museum in general and his responses. Dates- 7/66-10/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Various museum operations. Dates- 1972 - 79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- compliments about 25th anniversary exhibitions, events and catalogue: Treasures in America, \"A Tribute to Virginia's Unique Museum\"-a Sunday newspaper supplement, etc. Dates- 1/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for VMFA European catalogue, an exchange publication. Dates- 5/66-9/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Faberge catalogue: Russian Imperial Jewels, a VMFA exchange publication. Dates- 12/60-2/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- compliments and thank you's for gifts/exchange publications of Russian Imperial Jewels, the catalogue of the Museum's Faberge collection. Dates- 11/60-12/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Architecture in Virginia, a VMFA exchange publication. Dates- 2/68-5/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for William Hogarth, A Loan Exhibition of Paintings, Drawings and Prints, a VMFA exchange publication. Dates- 1/67-3/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for Painting in England 1700-1850, Collection of Mr. and Mrs. Paul Mellon, a VMFA exchange publication. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- complimentary letters to Cheek on \"Painting in England\" exhibition (Mellon Collection) and his responses. Dates- 4/63-10/63. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Thank you letters for The World of Shakespeare, a VMFA exchange publication. Dates- 1/64-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Form letter from the President to potential members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J. G. Pollard. subject- Letters to Trustees regarding 25th anniversary fund and letters to new members. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- performance at Mosque of \"The Confederacy\" as a benefit for the Artmobile, project later abandoned, Date- 11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- drawings of the site of the Confederate Memorial Chapel, landscaping plans, etc. Dates- 7/66-8/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Richmond Times-Dispatch article \"The Old Soldiers Faded Away Home Here is Vacant\". Dates- 1/16/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitation to Director of the Norfolk Museum to Confederation workshop. Dates- 5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- congratulation and reply letters on the installation of Mr. James M. Brown as VMFA Director. Dates- 6/69-6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of objects from the Glasgow bequest and purchase fund currently exhibited in Museum galleries. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Mrs. Anthony Congreve. Subject- biographical information on Arthur and Margaret Glasgow, correspondence about Glasgow fund for purchasing works of art, listings of purchases made with Glasgow Endowment Fund 1966-72. Dates- 11/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz. Subject- Physical plant restoration project: cleaning of VMFA interior and extensive improvement of motor park, project data summary, Conservation Laboratory: construction and equipment, supply expenditures, budget. Grant application: \"Proposal for Virginia Museum Conservation Laboratory\", employment contract, job descriptions, resumes of prospective applicants. Dates- 1975 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- biographical information arrangements for giving lectures/seminars at the Museum, VMFA Members' Bulletin vol.23, no.9 5/63, etc., Date- 11/50-2/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for securing speakers for the \"Fireside Series\" proposed art talks held in the library, Thank you's to speakers, etc. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loans of objects between VMFA and Corcoran Gallery of Art, correspondence about museum practices. Dates- 3/51-10/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Katharine Cornwell. Subject- biographical information on this actress, invitation to come to Richmond to see a show and promote TheatreVirginia. Dates- 5/67. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets and post cards from the Corning Glass Center. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information on obtaining assistance from philanthropic organizations and corporations, etc. Dates- 2/55-12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by E.H. Will (VMFA President of the Board). Subject- solicitation letter for corporate patrons, information on corporate patrons program, roster of Richmond corporate patrons 1970, invitations to corporate patrons gala, etc. Dates- 12/69. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by E.H. Will (VMFA President of the Board). Subject- solicitation of corporate patrons, pamphlets about corporate patrons program, publications for the corporate patrons gala, etc. Dates- 7/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- roster of Richmond and of state corporate patrons 1971, planning for \"Fete Aux Galleries\" the corporate patrons event 1972, invitations and guest list for event, etc. Dates- 6/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Exhibitions, condition reports, insurance, gifts and purchases. Essay- \"Successful Adult Museum Programs\", M. Christison. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Velz.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) primarily, also L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- varied. Dates- 7/56-1/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- General correspondence regarding publications, museum practices, exhibitions, pamphlets. Letter from Alexander Calder. Dates- 7/56 - 12/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Ford Foundation grant-in-aid program, Fogg Conservation Symposium and the Chrysler Collection. Photographs, cesolution recognizing the outstanding contribution of L. Cheek by the VMFA Council. Draft of \"Standards For Museum Practices\", SEMC, 1958. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition of American Silver, jurors for 1965 ADP exhibition, biographical data, 25th Anniversary exhibition and list of objects for loan. VMFA film series, press releases for \"The Little International\" from the Olsen Foundation and the Artmobile. Dates- 1958 -1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and VMFA Council officers. Subject- Council roster 1957-8 and 1958-9, listing of charter members, council-sponsored events and programs, lecture series schedule 1957-8 and 1959-60, statement of purpose of the Council, minutes of general meetings 1962 and'65, Executive Committee meeting minutes 1962 and '63, acknowledgments of gifts to the Museum, etc. Dates- 7/56-10/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown with the VMFA Council. Subject- Council gifts, Council -sponsored events and programs, preliminary drawings for Council shop office, breakdown of Council Contribution Fund 10/70 and 11/70, etc. Dates- 2/66-4/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for corporate patrons ball, roster of Richmond and of state corporate patrons, roster of Council committee for the ball, invitations and guest lists for ball, etc. Dates- 10/70-3/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- outline of the organization of the VMFA Council, Council Program 1955-6, Council of the VMFA Charter Meeting and Articles of Association, \"Friends of the Museum Constitution\", etc. Dates- 5/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- VMFA Council Contribution Fund analysis 1971 and'72, various Council sponsored events and programs, agreement between VMFA and the Council 10/20/70, A Short History of Council Gifts to Museum 1955-71, The Council of the Virginia Museum Directory 1971-2, general correspondence between Council officers and VMFA staff, etc. Dates- 1/71-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Council Trustee Contribution Fund, conservation laboratory, library, state services, fellowships and internships. Profit and loss statements, general ledger trail balance, Art Purchase Fund, staff expenses, VMT financial statements, matching funds for NEA Grant. New Council Shop, furnishings, installation, etc. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposal to establish fellowships for professional craftsmen (resident Craftsman Program), letters from interested craftsmen, etc. Dates- 2/63-2/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- proposal of a story about the Museum for Time-Life magazines, reference made about a reproduction of a Watteau from the Museum's collection appearing in Time. Dates- 11/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Monica Hamm and P. Mooz. Subject- Head of publications, editor of AIV and advisor for photography exhibitions. \"Focus On The Arts\", Pat Becker. Dates- 1974 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- fact sheet about VMFA, House bill no.862 was about establishing a Virginia Commission of the Arts and Humanities, transcript of the VMFA presentation by E.H. Will (VMFA President of the Board) to the Virginia Assembly, Rules Committee asking to kill or amend the bill, etc. Dates- 1/68-2/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- roster of Virginia Cultural Development Study Commission and of the State Arts Committee, information about the creation of the Va. Cultural Development Study Commission by Senate joint resolution no.67, essay- \"The Virginia Museum and the Arts in Virginia\", correspondence about meeting with the Cultural Development Commission, \"Dissenting Opinion Report of the Cultural Development Commission\" by Dr. William H. Higgins, Jr., member of the Commission, etc. Dates- 3/66-1/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to individuals, institutions and companies beginning with the letter \"D\". Subject- varied. Dates- 3/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- VMT, exhibition schedules, Byzantine Architectural exhibition, College Drama Festival, loans of art works, Artmobile, Horace Day, NEA proposal, pamphlets, magazine excerpts, cards, biographical data, etc. Accessions and gifts: \"The Meeting of Joachim and Anna Under the Golden Gate\", A. Duer. Dates- 10/58 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Conference for teachers and students of Dance at VMFA, master classes, lecture and performance by Alwin Dance Theatre, agenda, list of dance teachers. Date- 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, AIV. Dates- 1/61 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Virginia Architects, Designers and photographers\", Collectors Circle, Va. Artists Biennial, donations, gifts, memorial fund. Dates- 6/59 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, acting director of the Museum and Governor Darden, regarding the Museum director and the Curator of Decorative Arts, who were both on leave to the armed forces during World War II, 1942-44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with and biographical information about Carson Davenport, Virginia artist. Dates- 1936-1944.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Ms. Davis. Subject- visits to \"Faraway Farms\" (Cheek's property) Davis was apparently a housekeeper/caretaker of some kind. Dates- 2/49-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and donors Mrs. Lincoln Davis, and George Cole Scott and Hildreth Dunn Scott, 1937-43.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., E.M. Davis, III (Curator) and L. Cheek, Jr. Subject-restoration of Mrs. Davis' Flemish painting, gifts from Mrs. Davis, information on Museum Board accessions committee (Mrs. Davis member), etc. Dates- 10/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. Lincoln Davis. Subject- Trustee/Museum business, letter of resignation from Board, etc., 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Elizabeth Nottingham Day and Horace Day, patrons and donors, 1934-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Day's exhibition at the VMFA. Dates- 1/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard to Mr. and Mrs. Horace Day. Subject- Horace Day biographical information, exhibition record, job recommendation, newspaper editorial written by Mr. Day on American Painting, etc. Dates- 1950- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to Mr. Howard Dearstyne. Subject- proposed exhibition of Dearstyne's work and speaking engagement, etc. Dates- 11/50-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chamber Music Society, Building grounds committee, gifts, donation. Dates- 1954-65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. to the Earl de la Warr. Subject- a visit to Richmond by the Earl, loan of a painting to the Museum exhibition \"England's World of 1607\", etc. Dates- 4/57-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. Marie de Mare. Subject- catalogues of \"Healy's Sitters\" exhibition ( Mrs. de Mare was Healy's grand-daughter), proposed film and biography of Healy by Mrs. de Mare, etc. Dates- 5/49-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His position as Art Director of AIV, music and dance folders. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from D. Nichols (administrator), F. Haseltine (PR). Subject- VMT subscription, Executive Committee Report, Collections Activities, Public Information Report. Dates- 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and R.A. Velz (Administrator). Subject- information about an exhibition scheduled From Nov.22-Dec.31, 1955 featuring merchandise available for purchase in time for Christmas. Dates- 9/55-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Traveling exhibition. Dates- 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- International Traveling exhibition. VMFA and Leslie Cheek were the American coordinators from 1951-1954. Lists of attendees at the opening dinner 1/15/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Design in Scandinavia\" exhibition checklist, description of the exhibition, official record of receipt and list of items received but not included in exhibition, etc. Dates- [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- RSVP's to dinner held on the opening night of the exhibition \"Design in Scandinavia\". Dates- 12/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., Mrs. J.G. Pollard and M.B. Christison. Subject- exhibition catalogue information for \"Design in Scandinavia\" and RSVP's for dinner held on the opening night of the exhibition. Dates- 12/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- American Tour 1954-57. Correspondence and publicity regarding. AFA took over the circulation of the exhibition.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committees in the United States. Lists of members and minutes from meetings 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Favorable reviews of the exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copy of a New York Times article written by Cheek concerning the upcoming exhibition 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Opening of the exhibition at the Museum, January 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- dinner guest lists, menu, planning for opening night dinner for \"Design in Scandinavia\" exhibition, list of Board of Trustee committee appointments 1953-4, registration for Southeastern Museums conference 1953, etc. Dates- 12/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- RSVP's for the dinner and other opening events for the exhibition \"Design in Scandinavia\", exhibition catalogue, information used in planning printed material for the exhibition, etc. Dates- 4/53-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Cheek, Scandinavians and Thomas Messer of AFA. Correspondence with Elizabeth Gordon, Editor of House Beautiful. Subject- Design in Scandinavia exhibition. Dates- 1951 through 1953.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject-job description of a designer for the Design and Construction division of the Museum, proposed hiring of a designer, etc. Dates- 2/54-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- floor plan and printed matter for \"Designer-Craftsmen USA\" exhibition, photos of the exhibition, VMFA Member's Bulletin vol.15, no.5 (1/55), etc. Dates-11/54-2/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Strauss. Subject- 25th Anniversary, draft of appeal to enlarge endowment fund, pamphlet. Dated- 6/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for a diorama in connection with \"Orientations of Virginia's Cultural Background\", photographs. Dates- 7/61 - 6/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resolution by the Executive Committee to authorize excess travel cost by VMFA staff. Dates- 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trip itinerary, pamphlets. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Fowler, D. Nichols, B. Ryan. Subject- All manner of VMFA operation: photography budgets, payroll dispersal, VMT renovation, Artmobile, damage and security of Art works, gallery installation, loans, art purchase invoices, Theatre contract, repairs and modification invoices, grievance procedure, pamphlets, Interpol investigation of Indian sculptures, requests for establishing new positions: Vice Director for Public Affairs and Artmobile curator. \"Partnership Agreement of Artco and Company\", \"Operation Countdown\", analysis of responsibilities and time required for completion of the North Wing. Photographs, pamphlets, announcements. Accessions and gifts: 17th C. Eng. Embroidered Casket, Byzantine Bronze Plaque, Tomato Soup Can (A. Warhol), Bolt of Lightening (R. Lichtenstein), Portrait of a Lady, Payne Collection. Dates- 1/68 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, F. Haseltine, D. Nicholas, J.M. Brown, P. Near, A.W. Stalnaker, B. Ryan, Mrs. Pollard. Subject- All manner of inter-museum operations: Public information schedules, membership campaign, promotion deadlines, travel itineraries, budget proposals, etc. P. Nears observations on possible acquisitions. Dates- 7/64 - 8/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters of request, agenda. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Secretary to the museum, biographical data, job description. Museum files and the law regarding public information, records management, records to be retired, list of file classification: deletions and additions. Events schedules, agendas and exhibitions. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, A. Dohn. Subject- Letter of recognition of donations, list of donors and their gifts of art works. Dates- 1964-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Chenery Estate and Gottwald endowment Fund. Art Nouveau gift of Sydney and Frances Lewis. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMT, Fellowship Fund, Museum Classes, Chenery Estate, Art Nouveau Fund, Artmobile and Gottwald Endowment Fund. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Buyers guides, pamphlets, magazine excerpts, specifications, blueprints, lists of chapters and affiliates, photographs. Dates- 9/61 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, and L. Cheek. Subject- Gift of Dunsten Memorial, Payment record, gallery proposals, \"The Virginia Museum Needs New Wings\": appeal to membership and Trustees for building funds. Dates- 12/46 - 4/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Mrs. Alfred I. (Jessie Ball) Dupont. Subject- Donations. Contains a letter regarding her feelings in favor of segregation at the museum and in the arts. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jessie Ball duPont's membership on the Executive Board, gifts and donations. Dates- 5/55 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Jessie Ball duPont. Subject- Membership as a Trustee, Fellow, Chair of 25th Anniversary Fund drive, contributions and gifts, magazine excerpts, biographical information, contributions and gifts, progress report from Anniversary Fund Drive. Dates- 2/59 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and D. Hudson (state coordinator of Arts System). Subject- Salary scales for VMT, NEA grant proposals. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Exhibitions, Artmobile, VMT, Va. Fellowships, search for potential jurors, work schedules invitations, newspapers, postcards, etc. Accessions and gifts: \"Autumn Leaves\", A. Palmer. Dates- 5/46-5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agenda and letters to K. Fowler of VMT. Dates- 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Wm. Heartwell and Gov. Holton. Subject- \"Minutes of Economic Resource Task Force Meeting\": 7/23/71, 9/2/71, 10/8/71, 1/13/72, 4/20/72, purpose of task force was to improve communication between various agencies and the governors office. Draft of Executive order: relationship of state agency organizations to Commonwealth planning districts, budget estimates, agendas, Bills held in House Committee for the 1973 General Assembly. Dates- 1971 -72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- C. Guinnan request for a meeting room. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from A. Stalnaker and H. Dohn. Subject- Events for Governors School for Gifted Students: schedule, housing, food service, etc. Dated- 7/73- 8/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between A. Dohn and Mr. Albertia. Subject- Student application, agendas and statement of purpose. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Event to expose students to the function, organization and operation of VMFA, timetable and agendas. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and B. Bothmer (Egyptologist, BMFA). Subject- Invitations, list of Egyptian art objects available for purchase. Dates- 9/54 - 11/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Requests for films and slides, Artmobile, loans for Egyptian Gallery, statement/remarks for opening exhibition, newspaper clippings, blueprints. Dates- 2/55 - 12/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Suggested remarks related to \"Installation of a Gallery of Egyptian Art\", loans from other museums, agendas, letters to other curators and directors. Gift of Egyptian Gallery from Mrs. James Parsons. Dates-2/61 - 4/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- early planning stages of the exhibition \"England 1607\", list of pieces in, list of lenders to the exhibition, installation schedule and exhibition description, printed materials, \"Status Report on the Museum's Jamestown Festival Program\", etc. Dates- 6/54-8/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gallery opening made possible through gifts of china from Lady Nancy Astor, invitations and loan requests. Dates- 4/61 - 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- invitations to these exhibitions: \"Masterpieces of Chinese Art\" and \"Russian Imperial Jewels\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedules 1946, 1946/7, 1949, 1950, Entertainment Committee announcements and replies, committee report 1946, committee roster 1949/50, biographical information on the following Museum guests: Yasuo Kuniyoshi, John W. Taylor, Charles W. Smith, Reginald Marsh and Lamar Dodd, etc. Dates- 1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee schedule 1946/7, 1950, 1951, 1952, 1953, 1954, Entertainment Committee rosters 1950/1, 1951/2, 1952/3, proposed Friday evening events 1950/1, committee meeting minutes 1952, biographical information about George T. Hamilton, etc. Dates- 1946-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, VMFA Entertainment Committee schedule 1954, 1955, 1956, announcements and minutes of Entertainment Committee meetings 1951, 1953, 1954, 1955, 1956, etc. Dates- 1951-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Entertainment Committee roster, Entertainment Committee schedule 1955, meeting announcements, biographical information about the artist Donald Oenslager, etc. Dates- 1954-5. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, announcements and replies for VMFA Entertainment Committee meetings, roster of Entertainment Committee, committee schedule 1955, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. Arthur Kelly Evans. Subject- a bequest to the Museum from Mrs. Evans, etc. Dates- 11/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- proposal for fundraising project for VMFA Council in fall 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- 60the Anniversary of the AFA meeting and symposium in Williamsburg, registration forms. Dates- 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agenda, timetable and luncheon for behind the scenes tours by the Council. Date-1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Benefit for the Council Service Fund, program, menu. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Museum in Action\": documentary of VMFA galleries and statewide activities, preview agenda, press dinner, invitations. Producer: Richard Rochement Narrator: Alistair Cooke Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for VMFA banquet services. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Exhibition: \"Treasures from the Norfolk Museum\", Governor's reception, program agenda. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gallery plan, staff assignments and program. Dates- 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reinstallation of the permanent galleries. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Members dinner dance event, invitations, guest list. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Glasgow Estate, Jamestown Tablet. Reception for Committee on Law Celebration. Dates- 12/58 - 4/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Members preview and reception: timetable, program, invitations, gallery plan, etc. Jack Larsen: lecture and biographical data. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of invitation to members of Virginia Chamber Music Society to attend a Theatre-Dinner. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Inauguration of a monthly series of theatre Dinners, guest list, letters of invitation for event and menu. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition: \"Designs for the Theatre\" Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reception for British group of scholars and collectors and travel itinerary. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- A British organization on American Tour. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Meeting at VMFA for NCEW: an organization to stimulate the conscience and quality of the American Editorial page. VMFA Executive committee minutes, biographical data, program agenda. Dates- 7/58 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of request for use of VMFA Gallery for Dinner, agenda, timetable. Dates- 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Tour routes, agenda and schedule of events for reception and letter to new members. Dates- 9/68 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of invitation to reception, tour of museum, agenda, timetable, etc. Dates- 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. Breeden (Membership Chair). Subject- Procedure and agenda for members reception and tour schedule, press release, invitations, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Haseltine. Subject- VMT Premiere performance and promotion. Dates- 5/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- exhibition: \"Treasures of the Norfolk Museum\", program/dinner agenda, invitation, etc. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Arthur Houghton. Subject- Preliminary event outline, layout, program agenda, procedure, invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Annual event to honor corporate patrons: entertainment, decorations, invitation list and suggested remarks to be delivered by President, E. Will. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Private advanced performance of \"School For Wives\", biographical data on Peggy Wood. Dates- 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Rhoads. Subject- Agenda and sample of invitation. Dates- 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Gregory Peck. Subject- Grand opening of Virginia Theatre Arts System, events schedule for preview, Letter from Gregory Peck. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Library reception and banquet for college Presidents attending the Drama Festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Dinner and Theatre Party: agenda, invitations. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters of request and agenda for Theatre Dinner Party. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Rhodes and E.M. Last (Chair, RLS) Subject- Performance of RLS at VMT, ticket sales and cost estimates. Dates- 1/65 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letter of request for VMFA services. Dates- 4/31/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Robinson House formerly the Scientific Research Organization, VMFA headquarters for LOAS, adult classes and resident craftsperson, Invitation, Historical background, Bulletin vol.24 no.7 4/64 Dates- 8/62 - 3/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Helen Dohn. Subject- Smith College dinner with lecture by Charles Chetham, Director of Smith College Art Museum, agenda, etc. Dates- 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- The VMFA Council, Theatre Affiliates, President's Dinner. Music, Dance and Film Societies. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The Hospitality and Information Service for diplomatic residents and families. Dates- 1968. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- three day seminar program of multi-level experience in the Arts For exceptional Virginia Youths, agendas, etc. Dates- 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMFA luncheon and tour. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Paintings and drawings by E. Vedder, speaker. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for contributions. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: Hugh Newell Johnson. Reception, guest list and agenda. Exhibition catalog. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Harry Bertoia, Sherman Lee. Subject- General correspondence regarding juror service. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Sherman Lee. Subject- Jury Chair: Sherman Lee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Juror: William Pahlmann. Event program agenda, invitation, guest list, etc. Catalog: \"Virginia Interior Designers 1973\". Dates- 10/72 - 3/73 \"Virginia Interior Designers Reception Fri. 16 Mar.,  1973, 5-7 p.m.\" Subject- Invitation. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, W. Gaines and H. Dohn. Subject- Schedule of events, exhibitions, Bicentennial Celebration. loans, gallery tours, calendar news, Invitation for the \"India In Virginia\" exhibition. Dates- 8/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains minutes, agendas and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas, 1954-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, announcements, agendas and minutes of VMFA Exec. Committee meetings 1955, 1956, etc. Dates- 9/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee/Museum business, VMFA Exec. Committee minutes 1956, list of Exec, Committee members 1956. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and William J. Rhodes, Jr. (President). Subject- Trustee/Museum business Exec. Committee meeting agendas 1954, 1955, 1956, Museum finances (pay scale, Director's allowable expenses, approvals for purchases) VMFA Committee appointments 1956-7, etc. Dates- 6/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence, minutes and agendas. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. and Col. Henry W. Anderson (President). Subject- Trustee/Museum business, VMFA Exec. Committee meeting minutes 1950, 1951, 1952, 1953, listing of members of the Exec. Committee 1950, 1951, Exec. Committee resolutions 1950, 1951, 1953, By-Laws revised and adopted 1951, etc. Dates- 1950-3. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- Executive Committee minutes, copies of Exec. Committee minutes 1953, 1954, 1955. Dates- 12/53-9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Gari Melchers Memorial Committee, VMFA Exec. Committee minutes 1956, list of Exec. Committee members 1956, etc. Dates- 4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Trustee/Museum business, VA Art Alliance, Williams Fund purchase, VMFA Exec. Committee agenda 1952, 1953, 1954. Dates- 5/51-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W. Gaines, R. Velz, M. Christison. Subject- Roster of large Richmond firms and number of employees, invitation cover letter, remarks to be delivered after luncheon. Dates- 9/63 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- lists of proposed exhibitions, events schedule for 1955-6 season, roster of members and schedule of the entertainment committee, drama schedule for Virginia Museum Theatre, etc. Dates- 7/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Notable lecturers and AIV contributors, biographical data. Jurors: Charles Eames, Morris Ketchum and Bert Stern. Dates- 1967 – 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Budgets, loan requests. \"Picasso: A Selected View\", \"12 American Painters\", List of Art Works, biographical notes test for the catalog: \"The Flowering of American Folk Art\". Catalog: \"American Painting 1970 including correspondence with Richard Diebenkorn. Dates- 1970-1974. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Bernard Martins' \"Portrait of Edward Hopper\", \"Walter Gropius - 1883 - 1969\", \"Jose Puig\", projected budget, attendance records, requests for loans, receptions events schedules, etc. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Engineering projects around the world, assembled to illustrate the aesthetic impact of technology. Cost estimates for exhibition, speakers and invitations. Dates- 7/64 - 1/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Outstanding objects in American Museum collections that are gifts or have been purchased with contributions from patrons. Event arrangements/planning. Requests of loans and press releases. \"A Brief History of the Virginia Museum of Fine Arts\", by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition \"Homage to the Square\", signed letter from Elaine de Kooning. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening festivities of the Aldrich Collection of Impressionist and Post-Impressionist paintings and sculpture. Catalogue: \"The Aldrich Collection\", foreword by L. Cheek. Dates- 11/58 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: Bartlett Hayes. VMFA purchases from exhibition. Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Juror: C.V. Donovan. Request for loans from other galleries. Dates- 1962 , 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Al Held. Subject- Juror: Peter Selz. The removal of artwork from the wall of the VMFA for a period of one week in demonstration of racism, war and repression in America. List of paintings to be shipped and installation instructions. Dates- 9/69 - 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Search for a disposable cardboard shelter for use in a traveling sculpture exhibition to the Chapters and Affiliates. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Juried exhibition of Virginia Architects, Designers and Photographers. American Painting exhibition. Dates- 1964, 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt, Sydney and Frances Lewis. Subject- Art Nouveau exhibition: request for loans, lists of objects, opening event agenda, timetable, invitations, etc. Lecturer: Robert Koch. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. H. Bache and P. Near. Subject- Collector-of-the Year: Pre-Columbian gold collection, list of objects, letters to members of Collectors Circle. Dates- 196 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for flags from Embassy of the Federal Republic of Germany. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Kent Bicentennial Portfolio: \"Spirit of Independence\", prints by 12 Contemporary American Artists. Rockefeller Collection of Picasso Tapestries. Dates- 11/74 - 11/75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Phillip Hofer. Subject- Philip Hofer: biographical data and lecture on Blake. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Block as Collector-of-the Year (1967): Collection of 19th and 20th century watercolors and drawings, reviews and agendas. Dates- 10/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum of Modern Art exhibition \"Art Lending Service Retrospective\", lecture by MOMA Junior Council President Lily Auchincloss, lending services, expenses and pamphlet. Dates- 11/60 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibit on ancient Chinese treasures. Date- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases for Virginia's Civil War centennial Exhibition and celebration at the VMFA, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- C. Conger (White House Curator) and his collection of interior furnishings. Heeramaneck Collection. Dates- 1967, 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Blumka Medieval Collection: Preview, program agenda, invitations, etc. Damage report to Gothic Cut Velvet Cloth, Conservators report and insurance claims. Dates- 1/73 - 5/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near and F. Brandt. Subject- Exhibition of Tapestries from the House of Edgeworth and paintings, prints and drawings. Lecture, list of objects, PR, gallery plan, invitations, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek's service as a juror for \"International Glass\", gallery plan, photographs, list of jurors choice objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition \"Robes from the Forbidden City\": lecture by Alan Priest on Chinese Textiles. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt and P. Near. Subject- Virginia Photographer 1971, juror: Harry Callahan. Mourot Collection of porcelain. Exhibition schedules, lectures, gifts, loans of art objects, roster of Trustees. Catalog: \"Virginia Artists 1971\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Davies exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and H. Gummerus (Finnish Society of Crafts and Design). Subject- Gummerus lecture on Finnish design. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibition of Tutankhamun. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Bernard Von Bothmer (Brooklyn Museum). Subject- Von Bothmer account of his discovery fo the missing portion of VMFA fragment of Sema-Tawy-Tefnakht. Conservation and restoration of scribe, magazine clippings. Slides and photographs. Dates- 12/64 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. L.J. Dee (Cooper- Hewitt) Subject- Her Lecture to VMFA. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture by Buckminister Fuller, biographical data, catalog, installation, invitations, etc. Dates- 1/59 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contemporary Art forms of Israel. Lecturer: Avid Yafeh. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturer: John Walker. Invitations, entertainment. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Gaines. Subject- Documentation of the making of George Steven's film. Installation, design, floor plans and cooperating agencies. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Herbert Hoffman, Perry Rathbone and Patricia Davidson. Subject- Bill S.2273: to enable works of art and other materials imported for temporary exhibition in non-profit activities to be immune from judicial process. Description of objects for possible acquisition. Exhibition design, installation, VMFA and BMFA gallery plans, invitations, etc. Dates- 9/63 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Rathbone and H. Hoffman. Subject- Loans of Greek gold from the Hermitage and other institutions. Appeals to the State Department regarding Bill S.2773. Dates- 3/64 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Christine Alexander. Subject- Alexander's service to VMFA consultant on Greek and roman acquisitions. Exhibition lecture by Dorothy Kent Hill. Dates- 12/61 - 4/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Western art in Virginia collections, loan requests, film series, invitations, program agenda, etc. Lecturer: Larry Curry. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Perry Rathbone and Nasli Heeramaneck. Subject- Installation and acquisitions from the Heeramaneck collection. Lecturer: John Alexander Pope (Freer Gallery), newspaper clippings. Dates- 12/66 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon and Lessing Roswald. Subject- Request for loans, receiving and storage of objects. Event invitations, agenda, etc. Lecturer: Philip Hofer. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and John Koenig. Subject- Proposals for the filming and documentation of an epic film: research, selection, documentation, etc. Proposals were originally made to Samuel Goldwyn and Cecil B. de Mille. Dates- 7/55 - 2/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Goodrich. Subject- Requests for loans from various collections. Text for catalog forward by L. Cheek, and essay by Lloyd Goodrich. Biographical data and newspaper clippings. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Events schedule, agenda, invitations, pamphlets. Lecturer: Robert Doty. \"Portrait of Edward Hopper\" and drawing studies by Virginia painter, Bernard Martin. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Exhibition of art from Virginia Collections to commemorate the 10th anniversary of AIV. Request for loans, invitations, members preview, agenda, list of objects for exhibition. Lecturer: Thomas E. Norton, biographical data. Dates- 7/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Acquisition of Indian art collection. Dates- 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition of works by French artists commissioned by Claude Aveline to illustrate his poem \"L'Oiseau que n'existe pas\". Lecturer: Lawrence Alloway, biographical data. Members Bulletin vol.24 no.8 4.64. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Anne Marie Pope. Subject- VMFA display areas. Date- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt and P. Near. Subject- Art Nouveau Loan, list of Lewis gifts and purchases. Dates- 1971 - 78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and C.S. Hathway. Subject- Lecture search. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Biographical data, agendas, timetables and invitations. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Islamic rugs circulated by the Smithsonian Institute and lecture by McMullan. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J. Baskett and P. Mellon. Subject- List of paintings from Mellon Collection. Gallery preparation, storage, costs, opening festivities, interpretation of exhibition, letters to print media. Press release, newspaper clippings. Lecturers: W.G. Constable, John Baskett and Basil Taylor. Essay- \"Painting In England, 1700-1850\". Dates- 8/62 - 9/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Paul Mellon. Subject- Mellon English Painting Collection, early discussion concerning the scope and preparation of catalog and exhibition. \"Letter from Basil Taylor Dated-23 January 1963 re: Mellon Show\", letter of disgruntlement over the various stages of the Mellon catalog. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Basil Taylor. Subject- Mellon Collection of English painting, initial planning stages, lectures, installation, catalog, etc. Dates- 11/61 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Paul Mellon. Subject- Exhibition: \"Painting in England\", program of events, invitations, gallery plan, program, invitation, guest list, etc. Dates- 5/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon and Basil Taylor. Subject- Basil Taylor, advisor tot Mellon collection and author of exhibition catalog: \"Painting in England, 1700-1850\". Catalog foreword by L. Cheek. Dates- 12/62 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations and dinner programs. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Installation, catalog, security, lecture. List of slides, media coverage. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Remarks by Paul Mellon on exhibition opening, mock-ups of booklet form. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Full color photographic reproduction of the \"Sistine Chapel\", exhibition circulated by LIFE magazine. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Demonstration of mosaic technique using contemporary materials. Dates- 5/54 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Henry Moore. Subject- Aid of Helen Norman (neighbor to Moore) on establishing a dialogue with the VMFA concerning an exhibition and visit by the artist. Preliminary exhibition plans. Dates- 10/57 - 10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Henry Moore. Subject- Preview and opening night arrangements, newspaper clippings and press releases. Dates- 5/65 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Neutra. Subject- Exhibition and speaking tour by the artist. Dates- 6/59 - 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Goya exhibition: request for loans of works by Goya, announcements, invitations, list of paintings, Dr. Priscilla Muller (curator and speaker for exhibition). Program agenda. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturer: John S. Szarkowski. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and James Rorimer. Subject- Exhibition of Contemporary photographs. Biographical data on Ivan Dimitri and A. Hyatt Mayor. Catalog: \"Phototgraphy in the Fine Arts\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- proposed exhibitions, information about traveling exhibitions, etc. Dates- 10/48-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Perry Rathbone. Subject- Pre-Columbian gold with lecture by Allen Wardwell. Dates- 4/67 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Vincent Price as Collector-of-the-Year. Date- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- African collection from the Olsen Foundation. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Una Johnson (Brooklyn Museum). Subject- Contemporary prints from the Brooklyn Museum, invitations and announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition of the American Institute of Graphic Arts 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Gaines, F. Brandt, Anne Marie Pope. Subject- Reinstallation of the permanent collection, estimated exhibition costs, Heeramaneck collection, list of exhibitions available form International Exhibitions foundation. Exhibition catalog: John Kelly Fitzpatrick\" , photographs. Dates- 9/68 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Quillian. Subject- Exhibition of Randolph-Macon Collection. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program agenda for reception, exhibition, gallery plan. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions of Chinese Textiles from Minneapolis Institute of the Arts. Lecture by Alan Priest. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposed gift of \"Gates of Hell\", from the Cantor Collection. Exhibition \"Study of a Woman's Torso\". Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Rosenwald as Collector-of-the-Year, 1965. \"Master Prints From The Rosenwald Collection\", introduction by Rosenwald for the exhibition checklist. Dates- 12/64 - 3/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Corrected draft by L. Cheek. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Rosenwald. Subject- Personal invitations from L. Cheek. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition announcements. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of events for the season. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Paul Tishman. Subject- Exhibition from the Tishman Collection, letter of invitation, installation, Council lecture/luncheon. Speaker: Dr. John Akar, Ambassador of Sierra Leone. Remarks by J.M. Brown and Tishman, announcements and biographical data, etc. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing lists for colleges, museums, etc. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek tour of England to photograph Elizabethan Houses. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Presentation of various forms of Arts of England during Shakespeare's life in commemoration of the 4th Centenary of his birth. Requests for loans of Elizabethan objects, press release, installation, etc. Dates- 8/63 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Exhibition of 19th and 20th century paintings, reception and event announcements. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Paul Mellon (Exhibition Chair) and Wm. Constable. Subject- requests for loans, French and British sponsors of exhibition including Queen Elizabeth, Honorary Committee Members, Patrons, catalog, PR, object damage report. Basil Taylor as special advisor to exhibition. Dates- 7/58 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Consultation on exhibition proceedings, travel and lecture schedule, biographical data and text for introduction to the catalog. Dates- 4/60 - 7/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Basil Taylor, Paul Mellon and A. Eiseman. Subject- Catalog layout, printing, design, budget, cost estimates, contributions. Essay- \"Classic Horse Paintings\", foreword by L. Cheek. Dates- 1/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Recipients of free catalogs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- William George Constable and his lecture for exhibition, biographical data, Bulletin vol.20 no.8 4/60. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of British sponsors, loans, selection committee. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Mailing list, opening event, program and list of lenders to exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospective members attending the Sport and Horse Dinner event. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and John G. Pollard. Subject- List of sponsors, reception: program, agenda, menus, etc. Newspaper clippings. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibition in commemoration of Stravinsky's 80th birthday with related settings and costumes created for his ballets. Dates- 4/61 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Exhibition of contemporary prints and multiples (3-dimensional objects of limited editions), Lewis contributions. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Railey Collection of European and Asian seals, Fisher Collection of paintings and exhibition of Ruth Safford: \"Interiors of Famous Houses\". Dates- 8/61 - 2/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt. Subject- Problems with exhibition objects. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Damage report of exhibition objects. Dates- 11/63  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Loans of objects from Pierpoint Morgan Library. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Extension of Tutankhamen exhibition. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sample invitation and preview guest list. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- List of objects available for loan and prices. Exhibition announcements, gallery floor plan. Lecturers: Gerald Nordland and Hilton Kramer. Dates-1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Traveling exhibit from MOMA: \"Form In The Animated Cartoon\". Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to M. Christison. Subject- Unavailability of Van Gogh exhibition. Dates- 8/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Philip Johnson. Subject- Jurors: Carroll Meeks, Richard Di Natale and Hans Namuth. Official entry forms, exhibition announcements, biographical data. Dates- 10/61 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Gyorgy Kepes, Philip Johnson and Ivan Dimitri. Invitations, guest lists, biographical data and entry forms. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- 1st Biennial exhibition.  Juror: Romaldo Giurgola.  AIA reception and dinner, program agenda, biographical data, invitations, pamphlets and exhibition catalog. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Sherman Lee, Harry Bertoia, Bernard Perlin. Collectors reception, purchase of artist work by Trustees, invitations, entry forms, etc. Dates- 12/57 - 2/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Near. Subject- Reception for purchasers of art works from the exhibition, and catalog. Dates- 1957, 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters to Artist on their award by the jury. Exhibition catalog, juror search and entry forms. Dates- 1959, 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Carl Wienhardt Jr., Mary Callery and Robert Vickrey. Salon des Refuse's on view at Thalhimer's, events schedule and exhibition catalog. Dates- 6/64 - 6/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: William Seitz. Installation, list of purchases, invoices, PR, invitations, guest lists, etc. Acquisition from Lewis Fund. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Gordon Bunshaft and A. Bodine. Entry forms and recipients of certificates of Distinction. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Exhibition to travel to Charlottesville. Dates- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture by Dorothy Miner, announcements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and Mr. John G. Hays (Chairman of the Expansion and Development Committee). Subject- Trustee/Museum business, formation of the VMFA Expansion and Development Committee, report of the chairman, etc. Dates- 11/47-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and P. Crum (Curator) and College of William and Mary. Subject- W\u0026M students visit to VMFA, loan from W\u0026M for a VMFA traveling exhibition, arrangements for traveling exhibitions to W\u0026M, etc. Dates- 2/41-7/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Education and Exhibitions) and Longwood College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Farmville State Teachers College, etc., 3/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- information on VMFA traveling exhibitions and an organization membership, etc. Dates- 7/48/8/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Art Club. Subject- arrangements for VMFA slides and traveling exhibitions to LAC, etc. Dates- 3/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Lynchburg College, etc. Dates- 1/49-2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Lynchburg Teacher's Club. Subject- arrangements for traveling exhibitions and slides to LTC, etc. Dates- 3/46-2/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Madison College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Madison College, etc. Dates- 12/47-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.C. McGehee (Assistant in Education Dept.) and Martinsville City schools. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Martinsville City schools, etc. Dates- 9/51- 10/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Mary Baldwin College. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to M.B. College. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Mary Washington College. Subject- arrangements for traveling exhibitions to M.W. College, arrangements for lecture by Christison at M.W. College, etc. Dates- 3/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Middlesex County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to MCWC, arrangements for lecture by Christison for MCWC, etc. Dates- 1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Narrows Woman's Club. Subject- arrangements for traveling exhibitions to NWC, etc. Dates- 10/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Newport News Woman's Club. Subject- arrangements for traveling exhibitions to NNWC, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Education and Exhibitions) and Norfolk Museum of Art. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to NM of A, exchange publications, etc. Dates- 1/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H. Lloyd (VMFA State Services) and Richmond County Junior Woman's Club. Subject- arrangements for filmstrips to RCJWC, shipping instructions, etc. Dates- 10/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and Roanoke County Woman's Club. Subject- VMFA traveling exhibition checklists, request for information about organization membership to the Museum, etc. Dates- 4/48-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for slides and lectures as part of the Museum's extension services program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H. Lloyd (VMFA State Services Dept.) and Rockingham County public schools. Subject- VMFA traveling exhibition and slides checklists, arrangements for traveling exhibitions to Rockingham Co. Public schools, shipping instructions, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between E.L. Kallop (VMFA State Services Dept.) and Scottsville High Scholl. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions and slide sets to Scottsville HS, shipping instructions, etc. Dates- 9/53-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Sedley Woman's Club. Subject- notification of installment of Mrs. N.B. Rollings as chairman of Fine Arts Dept. of SWC, Date- 12/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Smithfield P.T.A. Subject- art material for Smithfield schools, Date- 11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between H.V. Rennie (Assistant in Education Dept.) and Southern Seminary and Junior College. Subject- schedule of VMFA traveling exhibitions to Southern Seminary and Jr. College ('46) and arrangements for traveling exhibitions to Southern Seminary and Jr. College, etc. Dates- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Hart (Extension Dept.) and St. Catherine's school. Subject- VMFA traveling exhibition checklists, schedule for traveling exhibitions to St. Catherine's, etc. Dates- 1/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and St. Christopher's school. Subject- schedule and arrangements for VMFA traveling exhibitions to St. Christopher's, etc. Dates- 9/48-11/48.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Staunton City School Board. Subject- arrangements for traveling exhibitions to Staunton City School Board, etc. Dates- 1/52-2/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various Education Dept. staff and Stony Creek Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SCWC, etc. Dates- 2/47-1/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various VMFA State Service Dept. and Education Dept. staff and Stratford College. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to Stratford College, shipping instructions, etc. Dates- 8/48-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition checklists, schedule and arrangements for traveling exhibitions to Stuart Hall, shipping instructions, etc. Dates- 1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director of Collections and Education) and Suffolk Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to SWC, etc. Dates- 8/49-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Surry Woman's Club. Subject- arrangements for tour of the Museum and traveling exhibitions to SWC, etc. Dates- 10/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Sweet Briar College. Subject- schedule and arrangements for traveling exhibitions to SBC, shipping instructions, etc. Dates- 1946. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Service Dept. staff and Tazewell Parent-Teacher Association. Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions, slide sets and filmstrips to Tazewell Parent-Teacher Association, shipping instructions, etc. Dates- 11/52-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Thomas Jefferson Junior Woman's Club. Subject- request and suggestions for speakers for TJJWC, etc. Dates- 7/47-9/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA and Thomas Jefferson Woman's Club. Subject- arrangements to visit, tour and hold a meeting at the Museum, etc. Dates- 11/40-1/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Three Arts Club of Blackstone. Subject- arrangements for filmstrips for TAC of B, shipping instructions, etc. Dates- 12/52-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- address of Mrs. Woods, President. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Toano Woman's Club. Subject- arrangements for holding a meeting at the Museum. Dates- 1/50-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and University of Richmond and Westhampton. Subject- arrangements for traveling exhibitions to U of R, shipping instructions, etc. Dates- 3/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- catalogues from the UVA Extension Dept. including the following: Famous Italian Paintings, Famous Flemish Paintings (Reprints from Seventy Famous Paintings by Adelaide D. Simpson (1927), The Story of Venetian Painting by Mrs. Stringfellow Barr and Cecily B.D. Ryder (1928) and Catalogue of Art Prints and Books (1937), etc. Dates- 1927-1947. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education). Subject- VMFA traveling exhibition and slide set checklists, arrangements for traveling exhibitions and slide sets to UVA, shipping instructions, etc. Dates- 10/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and University of Virginia Museum of Fine Arts. Subject- checklists for traveling exhibitions sponsored by VMFA and UVA, the following publications by UVA: \"Twenty-five Contemporary Artists of Cleveland, Ohio\", \"Hugh Breckenridge\", \"Contemporary Artists of Virginia\", \"Contemporary Artists of Albemarle County and The University\", \"Alexander B. Trowbridge and Olin Dows\" and \"Elinor F. Hopkins\". Dates- 4/34-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.Y. Casey (Assistant in Education Dept.) and Upper King William County Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to UKWCWC, shipping instructions, etc. Dates- 3/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Valentine Museum. Subject- information about becoming organization members of VMFA, a loan to VMFA from the Valentine, listing of the Valentine's activities, etc. Dates- 10/35-9/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and VA Education Association. Subject- Virginia Education Association art section meetings, etc. Dates- 2/47-10/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and VA Federation of Woman's Clubs. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VA. Federation of Woman's Clubs, VA Federation of Woman's Clubs yearbook ('47/8) and Directory ('48/9), etc. Dates- 1/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA traveling exhibition checklist. Dates- 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Virginia Polytechnic Institute. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to V.P.I.'s Architectural Department, etc. Dates- 6/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Virginia State College (Norfolk Division). Subject- checklists for VMFA traveling exhibitions, arrangements for traveling exhibitions to VSC, shipping instructions, etc. Dates- 10/52-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and the Extension Dept. and VA State University. Subject- schedule of VMFA traveling exhibitions to VSU 1945-7, arrangements for traveling exhibitions to VSU, etc. Dates- 6/48-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Va. Teachers' Association. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to VTA, arrangements for a lecture by Christison to VTA. Dates- 12/50-11/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA Education Dept. staff and Virginia Union University. Subject- VMFA loans to VUU's art festival, arrangements for traveling exhibitions to VUU, etc. Dates- 1946-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between E.L. Kallop (State Services Dept.) and Wakefield Woman's Club and P.T.A. Subject- checklists for VMFA traveling exhibition, arrangements for traveling exhibitions to WWC and P.T.A. Dates- 9/51-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Warren County High School. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Warren Co. HS, shipping instructions, etc. Dates- 10/46- 5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between O. Hart (Registrar) and Warwick County School Board. Subject- arrangements for traveling exhibitions to Warwick Co. Schools, etc. Dates- 1/49-4/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Warwick Woman's Club. Subject- arrangements for traveling exhibition to WWC, etc. Dates- 10/48- 2/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Washington and Lee University. Subject- checklists of VMFA traveling exhibitions, arrangements for traveling exhibitions to W\u0026L, etc. Dates-1/49-12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Waverly Woman's Club. Subject- schedule of VMFA traveling exhibitions to WWC ('46), WWC visit (with lecture) to VMFA, etc. Dates- 3/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA staff and West Point Schools P.T.A. Subject- arrangements for traveling exhibitions to West Point Schools, etc. Dates- 12/50-6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, various Education Dept. staff and Westmoreland Woman's Club. Subject- arrangements for traveling exhibitions to WWC, etc. Dates- 1/48-3/49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and William Campbell High School in Naruna, VA. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wm. Campbell HS, shipping instructions, etc. Dates- 12/52-3/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, M.B. Christison (Assistant Director for Collections and Education) and various Education Dept. staff and Wilson-Jackson P.T.A. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to Wilson-Jackson P.T.A., etc. Dates- 1/47-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.T. Rhodes (Assistant in Education Dept.) and Wytheville County schools. Subject- arrangements for traveling exhibitions to Wytheville Co. schools. Dates- 4/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Wythe Woman's Club, Hampton. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC. Dates- 8/48-9/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education), various Education Dept. and State Services staff and Wytheville Woman's Club. Subject- VMFA traveling exhibition checklist, arrangements for traveling exhibitions to WWC, etc. Dates- 5/49-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.B. Christison (Assistant Director for Collections and Education) and Y.W.C.A.-Richmond. Subject- holding a meeting (with a visit and lecture) at VMFA. Dates- 4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA State Services Dept. and Young Woman's Club of Williamsburg. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to YWCW, shipping instructions, etc. Dates- 12/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between C.Y. Casey (Assistant in Education Dept.) and VMFA State Services Dept. and Zuni Woman's Club. Subject- VMFA traveling exhibition checklists, arrangements for traveling exhibitions to ZWC, etc. Dates- 8/50-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\". Dates- 12/54-10/64. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- correspondence with organizations, individuals, institutions and corporations beginning with the letter \"F\", note-included in these files: slides from Williams College of Art. Dates- 1947-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. and Victor Hammer. Subject- Design of gallery. Cheek spent a day in Slavonic Division at NYPL studying rare books of Russian palaces and made sketches. Final design based on adaptation of Russian throne canopy. Hammer originally tried to help arrange the designers for the chandelier and the curtains. Correspondence with Milton Samuels of French and Company, final designers, including samples of gray velvet. French and Company designer Paul Gengoult was at VMFA in 11/54 to install. Samuels came down for opening. Also paint samples for wall and trim colors. Original copy of \"The Hammer Collection of Russian Imperial Art Treasures. Lord and Taylor\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Chairman of the art department Williams College. Correspondence and biography 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fashion Show in cooperation with Miller and Rhoads Dept. Store and Harpers Bazaar magazine to benefit the VMFA Council, Education Fund, Council dinner, event plans and program catalogue. Dates- 12/55 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- the Fashion Festival of Arts and Flowers presented by the VMFA Council in cooperation with Miller and Rhoads Department Store, attendance lists, newspaper clippings, etc. Dates- 3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between national director and Thomas Colt, who was the State Director of the Federal Arts Project, 1935. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Federal Emergency Administration of Public Works regarding a grant to construct an additional wing to the Museum. 1935-38. More applications from Museum for funds from the Federal Emergency Administration of Public Works to complete projects such as casting a bust of John B. Payne and landscaping grounds. 1935-1941. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Federal Emergency Administration of Public Works and Virginia Commission for the Arts material, mostly on landscaping the grounds of the Museum, 1936. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Federated Arts Council of Richmond dinner and agenda, invitations. Dates- 2/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- Committee reports, events schedules, annual meeting 5/29/74, \"Festival Of The Arts\", 18th annual report, Dogwood Dell June-Aug'74. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Awards Dinner agenda, letters of confirmation, thank-you's, etc. Dates- 12/70 - 2/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T.C. Colt, Jr. Subject- listing of and letters to prospective fellows (founding fellows), a copy of the constitution 4/55. Dates- 3/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospects for new membership program. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Conservation Laboratory, Library Endowment, Fellows Weekend, orientation theatre, contributions and projects, statement of purpose, agendas, biographical data. Resolution in memory of Lewis Strauss. Dates- 1964-79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Fellowship Committee minutes 1942, 1948, 1949, 1950, Fellowship Committee agendas 1950, 1951, committee report 1949/50, Fellowship Committee announcements and replies, listing of fellowships given by the Virginia Museum of Fine Arts 1940-51, etc. Dates- 1942-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Aplicant interviews procedure. Date- 5/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellowship Fund income account, application, letters to recipients: Primm Turner, Jenny- Lynn Franklin and John D. Norwood. Dates- 5/54 - 5/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Essay- \"Outline for a Proposed Film for the Virginia Museum of Fine Arts\" by Vavin, Inc. 3/60.    [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1947, 1948, 1950, Finance Committee meeting minutes 1948, 1949, 1950, letters soliciting opinions from Trustees about stock purchases and committee resolutions and replies, VMFA Pooled Endowment Account 1949, stockholder information , etc. Dates- 1947-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting announcements and replies, Finance Committee resolutions 1950, 1951, Finance Committee meeting minutes 1952, committee report 1950, status of capital funds listing 1950, list of securities held and cash balances, financial transactions, etc. Dates- 1950-2. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1952, 1953, Finance Committee resolutions 1953/4, Capital Funds Investments and Cash listings 1952, 1953, stockholder information, financial transactions, etc. Dates- 1952-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee meeting minutes 1955, Finance Committee resolutions 1954, a listing of Finance Committee meetings and actions in writing 1948-56, financial transactions, stockholder information, statement of endowment investments 1955, pooled investment listing 1955, investment changes for the period 4/30/55-12/31/55, etc. Dates-1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Lawler Fund. Dates- 10/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- stockholder information (i.e. annual and quarterly reports of companies). [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Trustee/Museum business, VMFA Finance Committee resolutions 1948/9, excerpts from Finance Committee meeting minutes 1939, 1951, Date- 3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from A. Nicholas. Subject- Statements of income, balances, private income, special purchase funds, operating budget, etc. \"Virginia Museum Semi- Annual Financial Report Dec. 31, 1970\" , \"Summary of Financial Support\": 1935- March 31, 1971, 19l35- June 30, 1969, Art Purchase Funds, Capital Outlay Programs to purchase land and buildings, List of Art Purchases 1970-71. Dates- 6/70 - 10/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and G. Martin. Subject- Responses to questionnaire from various theatre directors, VMT regulations. Dates- 1965 -66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT Statement of Purpose, application for Samuel Tate Morgan and/or George Seay Memorial Trust Funds. Letter of grant award for the expansion of VMFA Library holdings and list of books purchased, newspaper clippings. Dates- 5/69 - 4/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Administrator, Richmond Area University Center. Correspondence with 1949-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Memorial for Col. Herbert Fitzroy, letters of receipt of contributors to purchase a sculpture to be placed on permanent exhibit in Artmobile II: \"Crowing Rooster II\", G. Marcks. Dates- 10/67 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- information about proper display of U.S., U.N. and VA flags. Dates-11/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns cultural development there. 1957-59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Agreement on the Importation of Educational, Scientific and Cultural Materials\", Bill signed on 6/24/59, press release. Unesco sponsored agreement to eliminate tariffs and special import taxes on educational, scientific and cultural materials. Dates- 9/59 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Horace S. Flournoy. Subject- repair of heating system at the Museum. Dates- 10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- plantings around the Waddy Fountains at the front of the building, lawn and plant care, listing of growing plants used, etc. Dates-6/54-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA staff and Harvard University's Fogg Art Museum, mostly regarding the loan of a Copley portrait for the Museum's inaugural exhibition, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, J. Coolidge (Dir., Fogg). Subject- General correspondence regarding conservation, authenticity of objects, employment referrals, research, etc. Dates- 4/52 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for Folktale Marionette Theatre to perform at VMFA in Dec.1953, etc. Dates- 3/53-1/54.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- visit of Mrs. Henry Ford II, to see VMFA operations. Dates- 3/61-6/61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- information about a Virginia artists watercolor exhibition sponsored by the Ford Foundation Title \"Virginia by Virginians\", copy of an invitation to Mr.and Mrs. Ford to the opening, etc. Dates- 1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- newspaper clippings and statement of purpose of the Ford Foundation. Dates-12/48-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Ford Foundation. Subject- proposal of VMFA serving as regional center for Ford Foundation's creative artists selection program 1958, proposals for Foundation support, Foundation publications, etc. Dates- 10/50-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Ford Foundation. Subject- information about applying for Ford Foundation support, Foundation publications, etc. Dates- 10/59-10/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program for Painters, Sculptors and Related Artists. Letters to jury members, entertainment. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and the Ford Foundation. Subject- the Museum as a locale for the premiere art exhibition to be featured in the March issue of the Ford Times, an exhibition highlighting VA artists named \"Virginia for Virginians\", included are copies of the exhibitions' gallery guide, invitations to the preview and a copy of the Ford Times feature issue. Dates- 11/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and American Association of Museums (AAM). Subject- roster of foreign museum Directors visiting VMFA on a AAM sponsored tour (in cooperation with the State Department), biographical information on visitors, etc. Dates- 3/65-5/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to VMFA staff. Subject- memos about arrangements for luncheon held at Museum for international newspaper people. Dates- 6/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal for VMFA travel program, tour estimates and brochures. Dates- 1973 - 74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition preview speaker: Ariad Yafeh, biographical data, reviews and photographs. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Guest lists for opening event, sample letters for invitations and replies. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about museum practices, Cheek serving as honorary member of advisory committee of Directors and Curators, etc. Dates- 3/52-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Keith Fowler. Subject- theatre operations, policies, programming, newsletter to friends, volunteers and theatre subscribers, etc. Dates- 10/69-12/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between William Francis and L. Cheek, Jr. Subject- Museum publications business and arrangements, etc. Dates- 12/64-9/68. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Governor Peery, T.C. Colt, Jr. and Douglas S. Freeman, president of the Confederate Memorial Institute. Subject- Transfer of the John B. Payne collection from the Battle Abbey to the museum. Dates- 1935-39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with L. Cheek, Jr. Subject- mostly professional matters, but some personal information is given. Dates- 1948-53.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and French and Company. Subject- French and Company, Inc. art dealers, loans, conservation work, proposed sales to Museum, photos and descriptions of objects, etc. Dates- 6/46-5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject- photo requests from the Frick Art Reference Library, reference questions, exchange publications, etc. Dates- 2/46-9/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Friddell was columnist for the Richmond News Leader. Correspondence with Cheek, 1949-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- memo about calendar of Museum events, mailing to American Ballet Theatre Friends, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Preparation plans for \"George Stevens Makes a Film\", an exhibition based on the making of an epic film (The Greatest Story Ever Told), installation, cost estimates, etc. Dates- 1/64 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Search for Egyptian objects to purchase, exhibitions: Sport and Horse and American Folk Art, College Drama Festival, loan of P. Klee works, collectors circle, Biographical data, Fellows, donation, gifts, Segregation in VMT, background information on paintings for Wm. Henry Yates, Marshall Research Library, Poetry Society of Virginia, Glasgow Estate. Accessions and gifts: \"Tree\", H. Gray; E. Hopper; Rutherford Goodwin, Jr.(signature). Dates- 1/55 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General museum business, inter-museum memos. Richmond Sinfonia, special purpose gallery, exhibition policy. Museum television, funding sources, COVAO conference, sale of Artmobile I, Council, newspaper clippings, pamphlets and funds generated through programs division, letter from Robert Indiana.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Bill (William) Gaines (head of Programs Division). Subject- programming educational, exhibitions, films, affiliates, etc., Museum operations, etc. Dates- 3/70-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Acquisitions, objects for purchase consideration, various newsletters, exhibition catalog: \"Nature As Scene\". Dates- 4/76 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with other museums. Subject- exhibition announcements, information about loans to other museums, etc. Dates- 3/53-3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Dir. for Collections and Education) and Mr. Charles Seymour (Yale University). Subject-request to look at the Museum's collections. Dates- 2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Col. Edgar Garbisch and L. Cheek, Jr. Subject- gift to VMFA-Junius Brutus Stearns paintings of life of George Washington, photos and information about paintings, biographical information about Garbisch, etc. Dates- 1/50-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for the 50th anniversary dinner of Garden Club held at VMFA, etc. Dates- 9/68-5/70. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns the Garden Clubs of Virginia and America 1958-62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., J.M. Brown and Mrs. T. Fleetwood. Subject- Mrs. T. Fleetwood as a Trustee, Trustee business, gift to Museum, etc. Dates- 5/64-7/75. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Landscape Architect for Museum. 1957-60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by John Garland Pollard, Jr. Subject- invitation to members of General Assembly to use Museum facilities, announcement of a reception for General Assembly members spouses, VMFA Members' Bulletin vol.20, no.5 1/60. Dates- 1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters sent to members of the General Assembly 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Gibbes Art Gallery. Subject- Brown working on problems of the Gibbes Art Gallery, \"Report to the Board of the Charleston Art Association\" co-written by Brown, etc. Dates- 12/71-3/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee, Executive Committee. Dates- 1950-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- Mr. George D. Gibson as Trustee, Trustee and Local Building Committee business, copies and excerpts from minutes of the Executive Committee 1948-53 dealing with VMFA building, news release 6/57 about Gibson being elected VMFA President, etc. Dates- 12/52-11/62. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. George D. Gibson, a lawyer with Hunton, Williams, Gay., Moore and Powell. Subject- flooding at the Museum, building inspections, structural problems with the building, the shipment of a Watteau painting to VMFA, a Melchers gift, etc. Dates- 7/55-5/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and J.M. Brown. Subject- acknowledgments of receipt, thank you letters to donors for gifts of all kinds (money, books, equipment, etc.,). Dates-11/65-12/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Arthur G. Glasgow. Subject- gifts to Museum, Museum events, information pertaining to the Estates of Margaret Branch Glasgow and Arthur Graham Glasgow. Dates- 2/54-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., J.M. Brown and Walter S. Robertson (VMFA President). Subject- transcript of remarks by Governor Mills E. Godwin, Jr. at Southeastern Theatre Conference 1966, Museum events, Mrs. Godwin to serve as honorary chairman of Entertainment Committee, etc. Dates- 12/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- President of Princeton University. Request for him to lecture at Museum. Dates- 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Associated Artist Gallery, Washington, D.C. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for Theatre Director-Producer 1957.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Pollard was a member of the Goodwin Memorial Commission appointed by the state to erect a scroll honoring the Reverend William Archer Rutherfoord Goodwin, former rector of Bruton Parish Church and man who dedicated his life to the restoration of Colonial Williamsburg, 1950-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Mr. F.D. Gottwald. Subject- agreement and arrangements to establish Elisabeth Shelton Gottwald Fund. Dates- 4/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- copy of report on Museum, recommendations to Museum made by Governor's Management Study Group. Dates-7/70-11/71. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Mills Godwin and Peter Mooz. Subject- Budgets: cutbacks, executive order, appointments to VMFA Executive Board, creation of job positions, Museum organization charts, Melchers Estate, Arts Commission, Executive Mansion furnishings and lists of objects. Dates- 1974 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by J.M. Brown. Subject- arrangements for unveiling (10/5/71) of new acquisition of Goya's painting- General Nicholas Guye guest lists, invitation, news releases, photo and information about painting, etc. Dates- 9/71-2/72. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- \"General Guye\", Goya. Special event, agenda, invitations, etc. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with John Graham (Curator, Colonial Williamsburg). Dates- 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Related to the death of Mr. Gray and his family. His bequest to the Museum and a memorial to him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Horace Gray, Trustee. Subject- Museum business, biographical information about Horace Gray, VMFA Members' Bulletin vol.19, no.6 (2/59), etc. Dates-5/51-11/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- correspondence about hiring Mr. Paul Grigaut as head of Collections Division, Museum practices, information about Museum Collections catalogues, etc. Dates- 6/62-4/65. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Theft-general. Contains one newspaper clipping 5/28/62.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. Subject- correspondence with Senator Raymond R. Guest, announcement of gift to Museum of bronze gates, Museum events and business, etc. Dates- 11/48-5/66. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and L. Cheek. Subject- List of sites for guidebook , roster of names for nominating committee, letters to publishers, price structure, biographical data, promotional information, outline for publication by the Trustees for \"An Official Guide To Four Centuries Of Building In The Old Dominion\". Dates- 4/66 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Finnish Society of Crafts and Design 1959-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, F. Brandt, F. Haseltine. Subject- Installation of \"Symbol\" at Phillip Morris site, invitation mailing list, reception agenda, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, F. Haseltine, P. Near. Subject- Exhibitions, VMT, loans, gifts, endowments, biographical data, invoice for work restored, acquisitions, installation of Heeramaneck Collection, Pastorale fund, Project Grant Application, Tax Status. Essay- \"A Brief Summary of Accomplishments of the Virginia Museum of Fine Arts\", 1962-64. Dates- 9/51 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mr. Haller was a public relations consultant hired under special circumstances and kept off of the state payroll. This letter pertains to this and circumventing the state system 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and S. Robertson. Subject- AAM meeting in Williamsburg, increase in security staff at VMFA, Artmobile, Executive order from the Governor's office to divide the Board of Trustees into five divisions. Request for authority to prepare Capital Outlay Plans for South Wing, invitations to serve on various committees, presentation of Webster S. Rhoads award to Gov. Harrison, newspaper clippings. Dates- 5/61 - 11/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Public Buildings Administration (Federal Works Agency). Subject- Harrisonburg post office mural competition (Colt served on the jury of selection and advisory committee) and contract with Public Buildings Administration. Dates- 2/41-10/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cheek's 25th college reunion and an art exhibition in conjunction with the reunion. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Melissa Hayden and Andre Eglevsky. Dance performances at the VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mrs. John G. Hayes, Sr. Subject- Trustee/Museum business, money to the John G. Hayes Endowment Fund, etc. Dates- 11/49-12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. J.G. Pollard and W. Rhoads. Subject- John Green Hayes Memorial Fund. Dates- 5/48 - 11/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of appeal from VMFA to Hearst Foundation for financial assistance. Dates- 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Biographical data, press release and his presentation to the AAMD, newspaper clippings. Dates- 4/62 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lecturer for the Latin American Exhibition 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT: tour schedule, HEW grant proposal, \"A Cultural Program in the Dramatic Arts for Virginia High School Students\", newspaper clippings, postcards, reviews, project budget, financial support. Dates- 5/66 - 2/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Travel Itinerary, loans , VMT productions, collectors circle, LOAS (Loan-Own Art Service), search for prospective jurors, letter to Helen Hayes to address VMT, biographical data, gallery plans, invitations to preview Hogarth exhibition. Dates- 9/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Request for luncheon and agenda. Dates- 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Request for VHS to hold annual meeting. Dates- 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Col. Hodges (Membership Chair). Subject- Trustee/Museum business, Hodges served as the Chairman of the VMFA Membership Committee, etc. Dates- 11/35-3/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA Bulletins: vol.26 no.3 and vol.27 no.6. Hogarth lecture to VMFA, itinerary, biographical data, Wm. Blake exhibition. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for Theatre Director 1957. Contains resume and letters to, from, and about him. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, P. Davidson, and P. Rathbone. Subject- Exhibition: \"Treasures of Alexander\", request for loans, list of objects in connection with exhibition, installation design, theft of Nike Earring. Dates- 9/63 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Term as a Trustee and Fellow at VMFA and as a Trustee at Norfolk Museum, Exhibition: Treasures from the Norfolk Museum. Gifts and donations. Dates- 9/61 - 4/3 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Collectors circle, Fellows, Trustee, gifts and donation. His service as a Trustee at the Chrysler Museum. Dates- 12/64 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on state holidays. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between J.M. Brown and Gov. Holton. Subject- Proposal for a Bill to organize a citizens advisory committee to improve furnishings and interpretation of the Gov. Mansion. Statewide Building Code, Administrative Amendments 1/29/73, Sec. 873.5. List of participants and Museum conference notes to determine how Va. Museums can assist one another, Inauguration arrangements committee, rosters: House of Delegates, Senate and legislature. Essay- \"The Holton Years: A Summing Up 1970-1974\". Dates- 9/61 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes and Reports from the Honors and Awards Committee and the Board of Trustees, 1948-56. Much of this concerns Mr. and Mrs. A.D. Williams, The Katherine Rhoads Fund and the Webster Rhoads Medal, and Arthur and Margaret Glasgow, letter regarding the Mary Samuel Davies Bright Memorial. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Arts and Humanities Commission, Pratt Estate, Cabell Foundation, Ford Foundation: VMT underwriting. Trustee interviews, gifts of appreciated property. Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings, photographs. Dates- 10/8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and J.M. Brown. Subject- Parsons Fashion Show, slides, pamphlets, newspaper clippings. Dates- 8/63 - 7/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Seating arrangement. Dates- 11/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J. Sweeney and Lee Malone. Subject- \"Design In Scandinavia\", Cheek's remarks. General correspondence concerning museum loans and policy. Dates- 4/63 - 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Miss Nora Houston and T.C. Colt, Jr. Subject- biographical information, information about exhibitions she participated in, proposed acquisition of her work, etc. Dates- 4/36-2/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- U.S. House of Representatives, New York State. Correspondence concerning government support of the arts. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copy of his speech given at the Architectural League Symposium 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Term as a Trustee, membership campaign, budget committee, newspaper clippings. Dates- 5/59 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellow, VMT, Exhibitions, Artmobile, long term loan of 18th C. Dec, Arts objects, Hogarth exhibition, contract bid for landscaping, North Wing. FILM: \"THE ART of THE CONSERVATOR\" Dates- 2/64 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Trustee, Fellow, gifts. Remarks concerning Fellows meeting, Draft of Executive Committee Meeting Minutes, 12/8/70. Official application form for AAM accreditation. Art Nouveau Collection, Council lecture and luncheon with draft of suggested remarks delivered by C. Humelsine. Dates- 1969 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Requests for catalogues, loans, exhibition announcement, proposal for an \"International Traveling Exhibition\", technical info on Ivisiglass. Dates- 4/45 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- RSVP's to auditorium inauguration, thank you notes to musicians used for the opening, etc. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Innocenti and Webel (landscape architects) concerning VMFA grounds. Dates- 7/64 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek, T. Colt and Mrs. Pollard. Subject- Requests for publications, general information regarding VMFA collections, exhibitions and museum operations. Dates- 10/35 - 4/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General information on exhibition installations.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains one brochure, 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- insurance against air raids and other war damage, correspondence with other museums about war risk insurance. Dates- 6/42 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard, L. Cheek, Jr. and M.B. Christison (Assistant Dir. for Collections and Education). Subject- damage claims to art objects we lent and/or were on loan to the Museum. Dates- 11/49-11/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuels Collection [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Draft of the Constitution and By-Laws of the proposed Virginia History and Museums Federation. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- ICOM statement of mission, travel expense records, membership and financial statements, pamphlets, Minutes of Executive Committee 1/30/60, 5/25/65, Annual Report 1965, newsletter, pamphlets, etc. Dates- 1961 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual Reports, Statutes, guidelines for International Rules of National Committee, Museum Training Programs, Newsletters, Minutes of Annual Meetings, budget, membership, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Mrs. J. Pope (Pres. IEF) Subject- Invitation to become a member, statement of mission, list of officers, IEF Financial Report 12/31/72, Annual Report 12/1/72, NEA award, catalogue listings, list of traveling exhibitions 1966-72. Dates- 1966 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Anne Marie Pope. Subject- Lists of current and planned exhibitions, events schedules, minutes of annual meeting. Dates- 1973 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Article from \"Preservation News\", 1/71 vol., XI, no.1 and Sunday Supplement from New York Times. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, P. Near, Phillip Johnson. Subject- P. Johnson's advise of design of the New Wing and as possible juror for Va. Biennial. Rotunda Club, Jamestown Festival, Robinson House, Hogarth Exhibition, Jr. League activities, and restoration of downtown Richmond. Photocopy of text from letter between Wm. Fitzhugh to Charles Carter 11/30/1796, pamphlets, donations, gifts. Dates- 12/55 - 12/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from W.S. Robertson. Subject- Letter of appointment to Executive Board. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 350th Anniversary. 1955-57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on the Museum's contributions to the celebration. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek to serve on advisory committee and certificate of award for his service, presentation of Pocahontas portrait for permanent display, \"Report From Sub-Committee, Jamestown Commission\", 10/30/57. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photos of the \"Japanese Architecture\" exhibition, printed material for the exhibition, arrangements for bringing the Japanese Charge d'Affaires to VMFA, transcript of remarks made by Mr. Shima (Japanese Charge d'Affaires) at the opening preview, etc. Dates- 4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Itinerary and agenda for East Meadow High School of East Meadow L.I., New York. Dates- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown. P. Near, A.P. Jenkins. Subject- A.P. Jenkins collection, gifts and contributions, loans, Fisher rug collection, B. Barenson, Ash Lawn, Caligula statue, invitations, agendas etc. \"Art Now: New York\" vol.2 #10, University Galleries, 1970 (contains large color plates). Conceptual statement for Cabrillo Marine Museum. Dates- 8/54 - 9/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Jay W. Johns. Subject- Trustee/Museum business, gifts to Museum, information about an Evelyn Byrd portrait by a disputed artist (Kneller or Bridges), etc. Dates- 6/35-9/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- J. Johns service as a Trustee and Fellow, gifts and donations. Dates- 4/50 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- B. Johnson's (Conservator of L.A. County Museum) observations concerning the authenticity of a Veronese painting and his personal collection of pre- Columbian sculpture and Asian ceramics. Dates- 8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and T. Catesby Jones. Subject- Jones' collection of modern paintings and sculptures, gifts to the Museum art and books, letter from Jean Lurcat, etc. Dates- 3/41-12/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The loan of Mrs. Catesby's collection of French Modernists to the VMFA and gifts. Dates- 2/50 - 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from l. Cheek, R. Guest (Fellows, Chair) and W. Robertson. Subject- Her appointment as a Trustee and role as chair of the membership committee. Dates- 7/64 - 6/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- State Supervisor of Art, 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- purchase requests for photos. Dates- 3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to J.M. Brown. Subject- Agenda and letters of confirmation. Dates- 6/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Volunteers at the Museum, 1950-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of confirmation. Dates- 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Letters of recommendation, resumes, prospective jurors, exhibition: \"Ugliness in Virginia\", Robert E. Lee Memorial, Fellows, gifts, donations, pamphlets. Acquisitions: Artists, Duane Hanson and Stephen Posner. Dates- 4/55 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Karolik collection of American Painting, Artmobile and Collectors Circle. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Maxim Karolik. Subject- proposed lecture for exhibition \"The Karolik Collection\", printed material for exhibition, etc. Dates- 9/54-3/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Illumination exhibition for the American Federation of Arts: proposal, budget, exhibition news, advisory committee and Minutes of 1st Meeting 11/23/64. Dates- 1/65 - 2/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek as member of the Council for the Kennedy Center and Board of Trustees, bulletins, progress reports and newsletters and a letter from Jacqueline Kennedy dated 1/14/66. Dates- 2/59 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and H. Willett (Supt. of Rich. City Schools) Subject- Letter to F. Keppel (Asst. Sec. of HEW) concerning a Math and Science Center. Essay- \"Proposal For a Supplementary Mathematics and Science Center\". Dates- 11/65 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters of request and confirmation, menu and tour. Dates- 8/71 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets: \"The Library - Documentation Project spring 70\" , \"The Urgency of Our Mission\" and \"Statement of Purpose Fall 1969\". Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt, L. Cheek and Harry Brooks. Subject- Requests for publications, provenance of Italian Renaissance painting being considered for acquisition, loans, pamphlets and shipping invoices, etc. Dates- 2/46 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, T. Simmons (Knoll) and Florence Shu Knoll. Subject- Interior design and furnishings of the Members Suite, offices, restaurant and Library, Knoll Catalogue 1956, newspaper clippings. Dates- 2/49 - 4/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Portrait commission of L. and Mary Tyler Cheek and his exhibition at the Museum of the City of New York. Information about introduction to exhibition catalog. Dates- 1/63 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Parson's School of Design. Design consultant VMFA 1954-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The creation of layouts of loan exhibitions and permanent displays, agendas, job description, newspaper clippings, biographical data, postcard, etc. Dates- 2/58 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mr. Koenig was a guest promotion director at the VMFA 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to contributors of memorial fund. Subject- Memorial established by the Theatre Associates of VMFA, sample of bookplate in his memory. Dates- 4/62 - 11/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuel H. Kress Foundation 1958-61. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about bill and payments with Kuhn. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile project for the Arkansas Arts Center, \"Let's Go, Reflections on the Art of Administrative Leadership\". Dates- 8/62 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chapters/Affiliates, newsletters, Lectour broadcasts, newspaper clippings, invitations, Lawler Memorial Fund, Artmobile. Artists: Pietro Lazzari, Janice S. Lemen, John Gadsby Chapman, photograph. Dates- 5/58 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Publication requests, gifts, contributions, collectors circle, Fellows, suggested bequest wording, Artmobile, loans, exhibition announcements, NEA questionnaire: \"Conservation in Museums- August 1971\", restoration and condition report of \"Battle of Yorktown\", Lami. Artists: Mario Dubsky and Eugene Berman. Gift and donations: \"La Sympathie\", Pettijean. Date- 11/62 - 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Port Sunlight, Chesire England.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and the VMFA Board of Trustees. Subject- To prevent the construction of the Valentine Museum's Latrobe Theatre. Dates- 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lecture by Cheek to the College Art Association 1951. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to E. Cless (program Consult., U. of Minn.) Subject- U. of Minnesota Institute on Administration and Services in the Small Art Museum, program agenda, travel schedule, list of registrants for the seminar, report on the panel on museum publications, pamphlets, map, etc. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek to G.H. Holmes (Dean of U. of Pa.). Subject- Urban Criticism, experiences in traveling exhibitions on city planning, resolutions and solutions on urban problems. Biographical data on participants of conference, travel expenditures, agenda. Dates- 7/58 - 12/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Priscilla Crum to Prentiss Taylor. Subject- lecture by Taylor, Wednesday evening programs schedule 1948, proposed schedule 1947-8, etc. Dates- 9/47-1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison. Subject- prospective speakers, films, etc. for programming. Dates- 10/48-12/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- schedules for Wednesday evening and musical programs. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given by L. Cheek, Jury duty lists, consultations, invoices, expense records, agendas, pamphlets, magazine excerpts, Essay- \"The Place Of The Arts In Our American Culture\", by L. Cheek. Dates- 1953 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lectures given by various members of the VMFA staff. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from D. Nicholas. Subject- Procedure and policy concerning VMFA security.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Monthly newsletters on \"Reflections on the Art of Administrative Leadership\", L.H. Kurtz, publisher/editor. Dates- 9/62 - 11/64, 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown, P. Near C. Humelsine, F. Brandt and Wm. Gaines. Subject- Art Nouveau Fund: list of purchases, legal document of fund establishment. Artmobile and contemporary Art Purchase Fund. Dates- 5/67 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Possible sources for the purchase and restoration of the Alexander-Withrow House, Lexington, Va. Dates- 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- D. Liebes (color consultant and textile designer) on proposed text for her essay to appear in AIV and her lecture to be given at the VMFA on crafts and the creation of VMFA Craftsperson - residence. Dates- 4/63 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and E. H. Bushbeck (Kress Found.). Subject- Drawings and description of Dr. Reinhardt's gallery in Switzerland. Dates- 2/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and V. Gaskins (asst. to L. Cheek). subject- Planning of VMFA lighting facilities, \"Art Museum Lighting\", 2/59, excerpt from a journal of Electrical construction and Maintenance. Dates- 2/59 - 9/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal of Library-Museum at Lincoln Center. Dates- 2/59 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Ralph Linton Collection of African Sculpture. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for loans of furnishings to other state properties. Dates- 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of loans under consideration, loans to ambassador residences in England and Australia. Photographs. Dates- 2/61 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and director of Louvre. Subject- Poussin exhibition at Louvre and VMFA loan of \"Achilles on Skyros\" and Delacroix exhibition, loan of \"Deliverance of Princess Olga\". Dates- 10/59 - 1/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lighting Technician, VMFA, 1953-55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek and C.B. Lusk. Subject- Lighting instruments and technical drawings. Essays- \"Lusklite as developed and used at the VMFA\" and  \"The Installation and Lighting of Exhibitions at VMFA\" Dates- 8/56 - 1/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.R. Duncan and Gordon Huff. Subject- Expansion of Lynchburg Arts Center to become an affiliate, loans for opening gala, suggested text for print media, schedule of events, Artmobile, Lynchburg Arts Center Executive officers. Introductions for L. Cheek and W. Robertson, travel itinerary. VMFA lecture series: Building For The Arts 1965-66, pamphlets. Dates- 5/62 - 7/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for \"The National Arts Center of New York University at Washington Square\", Exhibition: \"Tastemakers\", based on R. Lynes Book. Official guest list for opening reception. Dates- 10/54 - 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, L. Cheek, P. Near and F. Haseltine. Subject- Membership, gifts, personnel references, loans, Jamestown Foundation, proposal for commission of sculpture in F\u0026M Plaza. Acquisitions and gifts: Egyptian cups, Coptic sculpture, Bertoia drawing. Dates- 4/61 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Macbeth Galleries. Subject- loans for inaugural exhibition and general correspondence about proposed acquisitions from Macbeth galleries. Dates- 9/35-7/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Orders and correspondence for back issues of Bulletins and magazines, 1946-47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Alessandro Magnasco, Painting 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing and sign schedules, roster of names and institutions. Dates- 1960 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mailing and events schedules. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, P. Near, D. Isley (Norton Simon Collection). Subject- Press releases, shipping, installation, purchase invoice, info regarding owners of the other castings. Photographs and slides. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Paul Manship. Subject- designing the John Barton Payne medal. Dates- 9/36-10/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Robertson. Subject- His Service as a Trustee, Fellow, and chair of Trustee Budget Committee. Biographical info, Artmobile, 25th Anniversary of VMFA, museum business, financial statements, Education In The Arts. Dates- 12/56 - 5/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Long Island Historical Society. Subject- Provenance, purchase through Glasglow Fund. Dates- 12/55 - 1/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Resume, photo, agenda, NEA grant request. Dates- 4/65 - 5/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- M. Baldwin Choir Program, Alumnae issue Bulletin concerning visit of Pres. Eisenhower. Invitations, Fine Arts Center, Woodrow Wilson Project. Dates- 2/56 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Julien Binford. Subject- Mary Washington Arts Center, invitations, VMT, loans of art works, newspaper clippings. Dates- 11/49 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gifts to VMFA. Dates- 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. William R. Massie. Subject- Trustee/Museum business, etc. Dates- 12/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture: John Goldsmith Phillips, biographical data, press release and catalog list. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecturers: V. Isabelle Miller and Mrs. Yves Henry Buhler. Press release, publicity schedule and photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- floor plan, instructions for installation for exhibition \"Masterpieces of Chinese Art\", printed material for exhibition, thank you notes to lenders to the exhibition, etc. Dates-11/54-1/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Candidate for the Theatre Director Position. Contains resume and applications, letters of recommendation etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Director of Public Relations for 20th Century Fox. Speaker at the Museum 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Public Information Division VMFA. 1955-58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Director of Vassar College Art Gallery, requests for publications, lecture. Term as curatorial research asst. at VMFA. Dates- 9/53 - 6/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dedication of new Library, loans, invitations, VMT, Farewell gift to Mr. and Mrs. Cheeks with poem. Gifts, contributions, G. Melchers memorial. Dates- 2/60 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- General membership information, loans, press release, invoices, newspaper clippings, etc. Art Nouveau Collection. Letter to L. Marden (residence designed by Frank Lloyd Wright). List of Artists editions: prints and objects from Multiples Inc., NYC, price list and description. Artist: Phillip Lindsay, signature. Acquisitions: Monet, van der Helst and Rodin. Dates- 12/69 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and French and Co., Inc. Subject- pieces sold to and installed in the Museum, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposal to establish an Institute of Mediterranean Culture at U. of R. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Carroll L.V. Meeks. Subject- thank you notes for visit to New England personal friendly letters, etc. Dates- 4/50-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, Mrs. Pennell (Membership Secretary) and Mrs. Gari Melchers. Subject- VMFA members in Fredericksburg, postcards, gift to Museum , etc. Dates- 12/35-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Her service on the Executive Committee, Melchers Estate, budget, gift status of \"Dead Jockey\", E. Degas. Contributions, gifts, newspaper clippings, biographical data. Dates- 4/56 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt (Dayton Art Inst.) and Dr. Higgins (Chair of VMFA Board), J.M. Brown. Subject- \"Disposition of Mr. Gari Melcher's Estate Excerpted from Virginia Museum Minutes Books, No.4,5and6\" , prepared by A.W. Statnaker, Asst. Administrator 7/17/74. Resolution, re: \"Belmont As An Art Center And Museum\" and \"Opening Of The Belmont Facility To The Public\" , Executive committee Minutes. Dates- 5/74 - 11/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Melchers estate/bequest to the Museum, agenda and minutes of Gari Melchers Memorial Committee 5/56-10/56, report and proposals of that committee. Dates-5/56-10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- appointments to committee, general operation of Estate, suggested budget, list of Melcher paintings owned by VMFA, loans of art works, drawings/blueprints: G. Melchers Studio air conditioning system and proposed plaque for ashes of Mr. and Mrs. Melcher. \"Belmont Agency Agreement\", Bill to transfer Melchers Memorial from VMFA to Mary Washington college. Dates- 4/56 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- First Chairman of Fellows: 1st Annual Meeting and statement of purpose. Exhibitions: English Painting, French Portraits, Sport and Horse, Artmobile. Old Dominion Foundation and his membership on the Executive Committee, gifts, donations and contributions. Dates- 2/38 - 11/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His membership on the Board of Trustees, Fellows, Collectors Circle. Biographical info, loans of art works from his personal collection, donations and gifts to VMFA and the National Gallery, Artmobile, as a recipient of the Benjamin Franklin Award: statement of purpose, nomination form, list of contributions, newspaper clippings, photocopies of magazine articles, invitations , etc. Dates- 1965 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W. Robertson. Subject- Collectors Circle, Fellows, term as VMFA Vice President. Press releases, newspaper clippings, contributions and gifts. Dates- 4/60 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Members lecture series. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Higgins, Jr. (Pres.) and C. Humelsine (Pres.) Subject- Draft of letter to membership regarding schedule of events etc. Dates- 9/71 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program where paintings from contemporary Virginia artists would be loaned (rented) to members to have in their homes. Members could also purchase the paintings. \"Designed to bring the work of Virginia artists into the homes of Virginia citizens.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Wm. Higgins. Subject- Monthly membership report summary, Chapters/Affiliates reciprocal membership program, letters of general correspondence to the membership. Dates- 4/70 - 7/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- minutes of the Membership Committee 1/48, 2/49 and a letter supporting the proposed theatre wing from Mrs. Wm. Trigg, Jr.(Civic Theatre Committee, Div. of Recreation, City of Richmond). Dates- 9/47-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Membership report, promotion, agenda, roster of committee members, minutes of committee meeting. Dates-8/72 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes of membership committee, elements of campaign to attract new members and move members to higher categories. Dates- 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Guided tours for prospective members, agendas, schedules, newspaper clippings, excerpt from Minutes of Executive Committee 12/14/72. Dates- 1/73 - 2/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Webster Rhoads (Pres. of Museum Board) and R.A.Velz (Administrator). Subject- list of new museum members, request form for membership, Membership Reports 1954-5 and 1955-6, list of membership privileges, etc. Dates- 11/55-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. W.A. Nones (Chair, Trustees), J.M. Brown and C. Humelsine. Subject- General membership information, schedule of events, calendar, pamphlets, etc. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership rosters of local organizations, copies of a cover letter soliciting members, etc. Dates- 1/55-10/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey results, years of membership, exhibit preference, age, attendance, annual contribution. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- planning stages for corporate memberships, proposed fees, privileges, etc., counsel from other US art museums, list of corporations to be approached about the idea, etc. Dates- 1946- 12/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Corporate membership drives, presentation to J.C.'s, excerpt from Newsweek. Dates- 6/60 - 1/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- Members art studio classes and lecture series. Dates- 6/54 - 9/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 6/53-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by VMFA staff. Subject- inter-office memorandums on varied subjects. Dates- 9/54-12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R. Velz. Subject- memos regarding segregation and other policies at the Museum. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek and R. Velz. Subject- Miscellaneous information concerning collections in general: treatment/condition reports, insurance, loans, installations, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Miscellaneous museum operation: Artmobile, Art Lending Service, Virginia Artists, lists of objects on loan, exhibitions, damage reports of objects and gallery inspections, etc. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- inter-office memorandums on various subjects. Dates- 12/54-9/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, L. Cheek and H. Glasser. Subject- Exhibitions, Pratt Collection, gallery inspections and all manner of museum operations and programs. List of lost objects on loan to the Bon Air School for Girls. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- Inter-office memos concerning insurance valuations, loans, lectures, library, exhibitions and policy on filing acquisitions data and damage reports. Date- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets published by the state Department of Mental Hygiene and Hospitals and the Mental Hygiene Society of Virginia. Dates- 1951-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and various staff at the Metropolitan Museum. Subject- museum practices, long-term loans of Egyptian art and artifacts, securing speakers, etc. Dates- 1/55-11/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J. Rorimer (Dir., MET) and A. Priest (Curator, MET). Subject- Damage to MET's \"Bacchus\", objects to purchase, loan requests. Acquistions and gifts: Tibetan Scroll; Coat of Japanese Mail. Dates- 11/69 - and/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Michael Jacobs Gallery. Subject- loan of painting (George Washington by Gilbert Stuart) for inaugural exhibition. Dates- 6/35-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- Midwestern book competition for which Cheek served as a juror, competition judged in Richmond, lists of criteria and books, printed material for the competition, etc. Dates- 4/56-4/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Jo Mielziner. Subject- friendly letters, mention of possible Mielziner exhibition, etc. Dates- 12/50-3/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, list of stage designs available for purchase, his lecture to VMFA, schedules and agenda's, etc. Dates- 10/54 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Miller and Rhoads department store staff. Subject- showing VA artist work in store windows, borrowing supplies from the display department for the Museum (folding chairs, textiles), etc. Dates- 2/49-11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and W.S. Rhoads. Subject- Nomination of Miller and Rhoads, Inc. for Esquire magazines 1st annual \"Business in the Arts\" award. Support of Artmobile II. Exhibition: \"Masterpieces in Millinery\", spring 1958. Preliminary outline of fashion costume requirements for VMT \"Lady In The Dark\". Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Speaker: Philip Adams. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. John M. Miller, Jr. Subject- Trustee/Museum business, Miller served as a member of the Membership Committee, etc. Dates- 6/35-7/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mr. J.G. Pollard, Jr. Subject- asking Mr. Milliken (Director of The Cleveland Museum of Art) for counseling on acquisitions, draft of an agreement where Milliken counsels the Museum staff about proposed acquisitions, etc. Dates- 3/58-3/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from B. Mills in his role as Asst. Administrator of Personnel. Subject- Records, applications, payroll, medical insurance, announcements of new employees and terminations. Dates- 9/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and L. Cheek, Jr. and The Mint Museum staff. Subject- museum practices, loans, etc. Dates- 8/46-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- obtaining the motion picture for which the drawings in the exhibition \"Gil Wilson 'Moby Dick'\" were made. Dates- 12/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- printed material for exhibition \"Modern German Art\", invitation to Mr.and Mrs. Alfred P. Jenkins for dinner and exhibition preview, (Mr.and Mrs. Jenkins owned the modern German art collection shown). Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Creation of James Monroe Bicentennial Commission. Dates- 8/57 - 11/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown between MAC. subject- Section 21-2 of the Richmond City Code: designation of Monument Avenue as an Historic District.  Minutes of meeting of MAC, 4/24/71 and 5/19/71.  Program Planning Task Force, editorial broadcast, roster of members, Articles of Incorporation, By-Laws, agendas, proposals and pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and Mr. Charles Moore. Subject- Moore's application for the Director/Producer position in the Virginia Museum Theatre. Dates- 12/56-10/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data and his lecture tour to the VMFA. Dates- 4/53 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Georgia Watson Morgan. Dates- 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Search for candidates for public information supervisor, job requirements, resume, publicity agendas, public information schedules, Bulletin vol.20, no.3. Dates- 6/59 - 7/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Mulholland (magician), biographical data/pamphlet, his magic presentation to the Fellows and VMT. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, his address to VMFA membership concerning architectural history. Dates- 10/55 - 8/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Munn Last Will and Testament with list of objects bequeathed to VMFA. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and T. Colt. Subject- Mural competition for Virginia State Library entrance hall: selection process, general assembly commission of monument to Stonewall Jackson. Dates- 4/46 - 6/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Envelopes of photos and negatives of Pre-Columbian art objects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Gallery attendance and educational groups. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Oct. Bulletin 1954, copies of the following Members' Bulletins-vol.15, no.2 (10/54) and vol.13, no.3 (11/52). Dates-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison. Subject- working papers for Members' Bulletin Oct. 1955, VMFA calendar 10/55, etc. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Oct. Bulletin 1955. Dates- 9/55-10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Design of annual Christmas cards by Virginia Artists: John Ballator, Charles Smith, John Canaday, Allan Jones, Ross Abrams, Julien Binford and Prentiss Taylor. Dates- 11/48 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns transportation for the Museum lecturers and guests 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Christison and Mrs. Pollard. Subject- Inquiries from other institutions regarding museum operations, budget, services, corporate membership, Trustees, etc. Lists of purchases, Fellowship recipients. Dates- 1937 - 53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Arrival of Hollins and VCU students to work on specific projects for one month. Dates- 12/71 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Proposal and tentative plans, prospective filmmakers. Minutes of Executive Committee of Southern Educational Film Production Service. \"Motion Picture Production\": Study by H. Jeff Forbes and Associates regarding promotion of VMFA. Dates- 11/46 - 2/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Memos about various museum topics. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, V. D'Amico (Dir. MOMA), M. d' Haroncourt. Subject- Art education standards, exhibitions, loans, lectures, museum policy, juror search and Jamestown Commission. Dates- 11/55 - 10/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Head of Administrative Division), Mrs. J.G. Pollard and L. Cheek, Jr. Subject- suggested future organization of the institution, operating procedures throughout the building, etc. Dates-2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding the division of expenses between the theatre and the museum, 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Promotional literature on the VMFA. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Material deals with segregation policies at museum events. 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence pertaining to printing. Bulletin mock-ups and copies of the following bulletins: Vol.6, No.4,  Vol.7, No.'s 2and7. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and magazine articles. Photographs, press releases etc. 1955-57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Proposed budget groupings for VMFA, according to departmental divisions and table of organization. Dates- 1948 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events, timetables, agendas, Robinson House, housekeeping, security, VMT. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of events, exhibitions, Robinson House. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Schedule of events, mailing schedules, spring agenda, Confederation Conference, Robinson House, VMT, gallery closings, Discovery Cruise: Land of Maya. Date- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Suggested talk by Pres. of Museum to guests at Safari Dinner in Medieval Hall. Dates- 1/22/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Travel package for travel to Asia, brochures, cultural travel tours. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Policy regarding loans of art works to other Museums, employment search, provenance of art objects, pamphlets, newspaper clippings, etc. Resolution: To order immediate safe return of German master works after Nazi occupation, signed by U.S. museum directors. Dates- 4/46 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Applicant search for various positions, invitations, announcements, exhibitions, etc. Press kit for the Milwaukee Art Center. Dates- 1974 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- General correspondence on exhibitions, loan requests, museum business, job placement, magazine and newspaper clippings. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions, loans, policy. Dates- 12/60 - 1/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Schedule of music series and members of committee. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- schedule of program of recorded music, announcement of 6th artist evening 1/46, Museum Bulletin Vol.5, No.2, etc. Dates- 2/46-5/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Jerome Myers. Subject- acquisition of his painting: Street Scene, N.Y., his acceptance to the National Exhibition of American Art, N.Y., etc. Dates- 4/36-3/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- General correspondence to Trustees and membership, letters to Robert Neutra, exhibitions: Henry Moore, Sport and Horse. Agendas, travel itinerary, events and invitations. \"Encouragement of the Nations Arts\", an appeal to congress, and \"Proposed Federal Advisory Council on the Arts\", Hon. H. Alexander Smith, U.S. Government Printing office, Washington D.C., 3/26/57. Requests for employment, postcards, pamphlets and photographs. Artists: Jean Nikolic. Accessions and Gifts: \"Disasters of War\", Goya; \"Lore Fuller\", Raoul Francois Lanke; \"Dancing Girl With Tambourine\", A. Leonard; \"La Revre Blanche\", Toulouse Lautrec; Revere and John Andrew spoons and vase possibly made by Johannes Loetz Witwe. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Namuth's exhibit of photographs at the Brussels World's Fair, as a juror VMFA. List of Seventeen painters photographed by Namuth: Wm. Baziotes, J. Boynton, L. Calgagno, N. Carone, R. Diebenkorn, J. Ernst, S. Gechtoff, G. Hartigan, E. Kelly, W. Kienbusch, G. Mueller, K. Morris, B. Perlin, C. Marca-Relli, R. Motherwell, A. Reinhardt, L. Siegriest, with original notes by Namuth. Letter from J. Ernst with signature. Date 4/61 - 4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statement of purpose and future of NCA, Board of Directors, Members of Council, fellowships, program grant application. Essay- \"National Endowment For The Arts Before The House Appropriations Subcommittee On The Interior And Related Agencies Tuesday, March 14,1972\", statement by Nancy Hanks (Chair): \"New Dimensions For The Arts: 1971-1972\" Dates- 1970-72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L Cheek. Subject- Bill: S. 2379, To provide for the establishment of National Council on the Arts and National Arts Foundation. \"Congressional Record: Proceedings and Debates of the 88th Congress\" Dates- 2/64 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Public-Law 85-874, S. 3335: charted by the 85th Congress to establish a bureau in the Smithsonian Institution devoted to the Performing Arts. \"Peaceful Use Of Creative Energy\": transcript of lecture given by Col. Corrin Strong at the Tri State Arts Conference 4/29/61; Report: \"The National Cultural Center Part Two: What Goes into the Center\" by Dr. Carelton Sprague Smith, 10/60. Minutes for the NCC Executive Board: 5/23/60 and 6/29/60 Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. cheek. Subject- VMFA Council sponsorship of a closed circuit telecast by NCC: \"An American Pageant Of The Arts\". Suggested text of publicity folder, invitations, Newsletter: \"Footlight\", vol.1 no.3.; \"For A Cultural Capital\", Eleanor Roosevelt, 1962, United Feature Syndicate, Inc. NCC, later to be named the \"Kennedy Center For Performing Arts\". Dates- 7/62 - 6/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exchange of ideas and experience with other institutions who use audiovisual tool to communicate with museum visitors. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of appeal to serve on Virginia NEFTA committee, roster of members. VMFA appointed as the state agency for the administration of Federal matching funds; to aid in expanding the cultural horizons of a states and territories. \"Guidelines\" 1/67, NEA, Washington D.C.; \"National Foundation On The Arts And The Humanities, Question and Answers\", U.S. Government, Washington D.C., 1965. Dates- 1965 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Survey of membership, officers of VMFA, according to race, gender, age, position and time served. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz. Subject- Grant proposals, application, letters of support, proposal for a Regional Conservation Center, Soldiers Home, American Marine Painting, NEA statement of purpose, Museums A.S.A. Study, Museum Program guidelines, Smithsonian Puppet Theatre, Young Peoples Theatre Safari, \"American Painting 1974\" and newsletter from the Arts Reporting Service. Dates- 1973 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Financial assistance to Chamber Music Societies, season brochures, project grant application form for Va. Chamber Music Society. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Grants received by Arts/Cultural organizations in Virginia: guidelines, program committee members, agendas and minutes from the program sub- committee 3/7/68. NEFTA project recommendations for a regional conservation center. Dates- 6/76 - 10/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT survey, McLean Arts Center, guidelines for program grants. Senate Joint Resolution No. 67: to create a Virginia development study commission, bill 1483: National Foundation on the Arts and Humanities Act of 1965 and a report with guidelines for VMFA as the sole administrator of NEFTA matching grants. Study for Virginia Artist and Craftsman in regard to education and support. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Grant applications from Virginia Dance Society, VMFA, Confederation of Virginia Art Organizations and Budget proposals. Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- State guidelines and general information, terms and conditions, NEA matching grant to begin statewide professional operation of VMT. Addresses of applicants for state grants, roster of Virginia NEFTA committee members. Dates- 2/66 - 6/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Regarding J.M. Brown's service on committee to evaluate grant applications. Valentine Museum NEA application, pamphlets. Date- 4/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- arrangements for exhibition \"Designer-Craftsmen 1953\" presented in conjunction with the American Craftsmen's Educational Council, Inc., (ACEC), letters to jurors, etc. Dates- 9/52-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and National Gallery of Art. Subject- preview invitations, exchange publications, excerpts from Roosevelt Art Address (from dedication of National Gallery 3/41), loan request for VMFA inaugural exhibition, etc. Dates- 3/41-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets and information about \"National Park and Recreation Week\" sponsored in Richmond 5/21-5/30, 1949. Dates- 4/49-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Geographical directory, \"Historic Preservation\" journal, vol.11, no.3, 1959 and Melchers Memorial. Dates- 1959 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Organization membership information form, questionnaire. NTHP certificate of associate membership 1971-73, employment placement and service pamphlets. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Travel itineraries, objects for prospective traveling exhibitions, list of slides, forgeries and thefts. Accession and acquisition proposals. Dates- 1/61 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Conservation of objects/paintings, loans. Accessions committee meeting agenda, 10/69. Report on Authenticity of \"Marble Head of a Horse\", Heermaneck Ancient Iranian Collection. Exhibitors: The child and his World. Condition reports and repair estimates for tapestries. Photographs Dates- 12/69 - 12/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Sydney Lewis and Peter Mooz. Subject- Authenticity of Cycladic Harpist and 18th century American secretary. Provenances of various objects, conservation and treatment reports. Catalog: \"Arshille Gorky\" Dates- 1/74 - 2/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Sydney and Frances Lewis and Peter Mooz. Subject- Conservation/treatment reports, Artnian Collection of self-portraits. Conservation/treatment reports, Kent Independence Portfolio. List of Art Nouveau objects, damage reports, African Collection. Report of authenticity regarding the Cycladic \"Harpist\". Letter from Arnaldo Pomodoro regarding a base for \"Rotating Sphere\". Dates- 5/75 - 8/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Hours of operation, VMFA and other museums, attendance records, VMT, security, UNESCO newsletters 4/58 - 8/59, newspapers and magazine clippings, press releases. Dates- 7/59 - 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cheek's annual N.Y. cocktail party: guest lists, arrangements, rosters of speakers to VMFA: 1951-52 and 1952-53. Dates- 1952 - 54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newsletter to Trustees concerning exhibitions and appointments to Executive Board, accessions, building, etc. Dates- 11/70 - 8/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Wm. Morrison (P.R. VMFA), F. Palmer (P.R. consultant), D. McCammond (P.R. Reynolds Metals). Subject- Public Relations of E. Newsom and Co. to conduct a study to determine the needs and potential of VMFA. Program organization, community relations, film, book press material, schedules of events, etc. Dates- 8/58 - 9/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- A survey targeting the needs, current and future of VMFA, with solutions/resolutions for every aspect of the museums' operation. Dates- 11/58 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. A. I. duPont and F. Palmer. Subject- Roster of members of Board of Trustees, letter of appeal for pledges, principal elements of Newsom Program. Dates- 10/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. A.I. duPont (chair, Ann. fund). Subject- Strategy to raise funds through the Trustees to finance the Newsom Public Relation Firm program for VMFA. Drafts of letters to Trustees, progress report, minutes of 25th Anniversary Committee, 9/8/59. Dates- 12/58 - 7/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- all manner of museum operation: security, policy and procedure, personnel policy. operating budget and VMT. Diagrams of electronic console panel. Dates- 1969 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Museum business, construction and installation project schedules, budget, Equal Opportunity regulations, design contract for the Council shop, salary scales. Dates- 10/73 - 1/79 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum business, Conservation Lab, Fine Arts insurance coverage, budgets, Cabell Foundation gift. \"Report on the Freedom of Information Act\". Depreciation of \"Death of Regulus\", Salvatore Rosa. Dates- 12/74 - 7/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum business and operations, budget, contractual agreement between VMFA and Harwicke Associates, Inc. for North Wing project. \"Organization of the Virginia State Government\". Dates- 10/75 - 11/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- UVA architect and his membership in the Collectors Circle. Dates- 1/63 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General assistant to VMT, employment recommendation. Dates- 6/55 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Possible acquisitions from his gallery. Dates- 10/62 - 1/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L Cheek and J.M. Brown. Subject- Loans, exhibitions, VMT, Rotunda Club, Fellows. Accessions and gifts: \"Metamorphosis\", Grillo. Dates- 4/57 - 6/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- correspondence with individuals, institutions and companies beginning with the letter \"O\". Dates- 4/43-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, photo and job description/responsibilities as program director for \"Art Column\". Dates- 3/61 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- As a scenic design consultant, his lecture to VMT in connection with the Exhibition: \"Design For The Theatre\". College Drama Festival, biographical data. Dates- 1/60 - 2/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Mellon, E. Brooks Jr., and M. Bush. Subject- Financial support: Artmobile II, building grant and museum survey to expand visitors use to VMFA. Photographs, newspaper clippings. \"A Study in Modern Giving: The Old Dominion Foundation\", reprinted from articles in Richmond News Leader. \"Bollenger Series\", catalogue of special edition books. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Bush (Asst. to Pres. of ODF) and P. Mellon (Pres. of ODF). Subject- Financial assistance to VMFA, Artmobile II, collectors circle, and Old Dominion Foundation statement of purpose. Dates- 9/58 11/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Dan Olney. Subject- receiving a Senior Fellowship 1941/2, outline for a lecture, etc. Dates- 10/40-6/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Governor Thomas B. Stanley. Subject- opening of the new wing. Dates- 8/54-11/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- opening and reception for Governor Stanley. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitations and replies to the opening of the Members' Suite, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opera Society's first season. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- miscellaneous printed materials for the Museum, etc. Dates- 3/55-4/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- tickets to the Museum for State Lions' Club convention, etc. Dates- 6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- ideas/proposals for \"Members' Room\", suggested operating procedures, menus, pricing, etc., cost estimates, \"Refreshment Room Statement\" 1955, etc. Dates- 1/55-3/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- theatre operations proposals, list of staff, their duties and salaries, etc. Dates- 5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- lists of statewide business, civic, commercial and other organizations, invitation list for General Assembly/Governor's reception, etc. Dates- 1953-6. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Orloff's (Chief-interpreter of U.N.) lecture to VMFA concerning the Faberge Collection, Biographical data. Dates- 11/49 - 4/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of inquiry to firms specializing in plaster and wood ornament, catalogs. Dates- 5/54 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator). Subject- museum practices especially concerning finances of other US art museums, etc. Dates- 4/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Near and J.M. Brown. Subject- Artmobile, VMT, Collector's Circle, Fellows, Chapters/Affiliates, biographical data, campaign to restore the Jefferson Hotel, list of exhibitions from 1942 - 45.  International Exhibition Foundation, the appointment of John A. Pope (Director of Freer Gallery) as advisor/consultant to VMFA for expansion of Far Eastern Collections.  Acquisitions and gifts. Artists: Nell Blaine, Howard Kanovitz, Otto Piene. Gifts: Masson lithograph, Irving Penn photo and 15 Russian 19th century paintings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Painter's lecture on \"Armor and Medieval Man\" to compliment the \"Arms and Armor\" exhibition, biographical data. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. Nelson Parker. Subject- announcement of Board meetings, etc., Date- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Appeal to Virginia Senate and legislature regarding sufficient museum parking utilizing land belonging to the UDC (United Daughters of the Confederacy). Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gift of Egyptian Gallery and English Decorative Arts Gallery. VMT, and her membership as a Fellow and in collector's circle. Dates- 4/61 - 10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. J.G. Pollard and Executive Committee of the Board. Subject- proposal and planning stages of conferring an honorary degree of \"Patron of the Arts\". Dates- 6/36-6/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and L. Cheek, Jr. Subject-housing J.B. Payne books in library of the College of William and Mary in exchange for paintings from their collection of art for display at the Museum. Dates- 1/50-4/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek's service on the Board of Trustees and on the Advisory Board of the School of the Arts. Minutes of U. of P. Executive Board, 4/8/60, 4/29/63, 4/26/65 and Annual Report of Graduate School of Fine Arts, 3/64, 5/65. Dates- 10/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek as chair of Fine Arts Committee. Subject- Letter to P. Coombs on his appointment as Assistant Secretary of State for Educational and Cultural affairs, UNESCO newsletter, Nubian archeological sites. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and A. Frankfurter (editor, Art News). Subject- VMFA general collection, list of gifts and purchases, 1955-67, scope of exhibitions, dates, publications, colorplates. List of VMFA Board of Trustees, 1962, Gobelin Tapestries. Dates- 1953 -64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Articles based on exhibitions and general collection of VMFA, VMT, invoices, newspaper clippings, pamphlets, reviews, newsletters. NEA museum programs, research education grants. Dates- 1967 – 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Articles of VMFA: \"A Spring View of Virginia Museum\", 10/56, Wm. Lacey, Editor; \"Art isn't Caviar at this Museum\", Sidney Shalett, 7/57, The Diplomat. Dates- 10/56 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Articles and editorials pertaining to VMFA: Newsweek, Time, Art Gallery, Antiques, Museum News , etc. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Harper's Bazaar, New York Magazine, Apollo, reviews. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Editors V. Dabney (RTD) and J. Kilpatrik (RNL). Subject- Artmobile, reviews of VMT and media coverage by print journalists, newspaper clippings. Essay- \"The Arts In The Sixties\", by L. Cheek. Dates- 11/59 - 12/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and F. Stewart and C. Jones. Subject- Exhibitions: \"Form Givers\", Sport and Horse\" and Mellon Collection. Dates- 2/60 - 12/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information on candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Job descriptions. Dates- 1953 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, P. Near and L. Cheek. Subject- Fellowships: list of recipients from 1940 - 1955. Prospective employees and VMT. Dates- 12/54 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr., L. Cheek, Jr., and Mrs. J.G. Pollard. Subject- personnel rules and procedures of VMFA and the Commonwealth of VA, mandates from the Governor's office, additional personnel and pay increase requests, Roster Cards (listings of all employees and pay rates), etc. Dates- 8/37-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr., and R.A.Velz (Administrator). Subject- listing of division duties, proposed salary ranges, information about hiring an artmobile driver-curator, etc. Dates- 2/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of L. Cheek, Mrs. J.G. Pollard, theatre staff, Ariel Ballif, Vincent Bowditch, Arthur Ballet, R. Velz and P. Near. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Personnel matters. Dates- 4/66 - 11/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains general information about the system and ratings for museum employees. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about the candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains applications, resumes and information about various candidates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Governor's personnel survey staff. Subject- employment questionnaire, job descriptions (buildings and grounds staff, watchman, registrar, secretary, etc.), etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Governor's personnel survey staff. Subject- employment questionnaire, VMFA tentative classification of positions (3/37). Dates- 10/36-4/37.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. Fiske Kimball (Director of Penn. Museum of Art). Subject- loans for VMFA inaugural exhibition, exchange publications, counsel on museum practices, etc. Dates- 5/35-5/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and R.L. Dickinson (Hanover Bank). Subject- The Library of Philanthropic Information at the Hanover Bank, New York City. Dates- 11/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- E. Turpin Phillips, a Virginia citizen and his request to see proposal plans for expanded museum parking onto UDC property. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Consultant for VMFA acquisitions. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Duncan Phillips (Director, Phillips Memorial Gallery). Subject- request for loans to VMFA inaugural exhibition, etc. Dates- 9/35-5/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Installation of VMFA photography department, list of equipment and supplies, employment of staff photographer: Gordon Burns. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of entries to the \"19th Photographic Salon\" exhibition, schedule for jurors, etc. Dates- 3/56-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) and L. Cheek, Jr. Subject- purchase requests for photographs. Dates- 10/54-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Ivan Dimitri as Director of Photography in the Fine Arts at the Brussels World's Fair, his service on the advisory committee, list of photographs given to VMFA from the PFA exhibition. Directors of America's Finest Museums: portraits, credo of on art and their personal selection of photographs from the PFA archives was the subject of the World's Fair exhibition. Etching by Levon West (Ivan Dimitri). Dates- 12/59 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Atillio Piccirilli. Subject- biographical information, loans of work to the Museum, etc. Dates- 7/35-1/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- viewing the feature film 'Pictura \"An Adventure in Art\"', invitations, contributions, listing of attendance, etc. Dates- 2/52-10/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Herman Starr (Pres. Pictura Corp). Subject- A group of films devoted to the fine arts. Presentation of \"Leonardo da Vinci\" at Richmond's Lee Art Theatre and film on Goya to accompany exhibition. Dates- 1/51 - 3/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Gallery dinner, menu, agenda, program for event. Dates- 8/70 - 5/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- policies on use of meeting rooms and studios, special food service, interpretative services, scheduling programs, etc. Dates- 8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains correspondence to and from him when he was President of the Board of Trustees.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- the VMFA inaugural exhibition, Museum events, finances, Museum Board business and bequests/gifts to the Museum, etc. Dates- 1/36-12/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr. J. Garland Pollard. Subject- Museum operations, investments, finances and gifts to the Museum, etc. Dates- 1/37-5/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as President, Trustee and membership in the Collector's Circle. Biographical data, museum business: operating fund, Artmobile, Newsom Report, 25th Anniversary fund, Melchers Estate transfer, gifts, contributions, Fellowship Fund. Exhibitions: Sport and Horse. Dates- 9/53 - 2/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as a Trustee, VMFA Resident Craftsman Program. Dates- 2/64 - 2/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Design of members Bulletin, records retirement, museum business. Dates- 1949, 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum business, Pratt installation, museum courses and equipment. Dates- 9/54 - 3/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Gift of \"Rotating Sphere\" from Lloyd Noland. Dates- 1976 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- As founder and director of the Barter Theatre, proposed plans for Theatre Virginia and NEA funding. Dates- 4/67 - 5/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr., and Mr. David Payne. Subject- correspondence with Payne about arranging the exhibition \"Portraits by David Payne\", biographical information, letter from Phillip Johnson, etc. Dates- 5/51-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, L. Cheek, Priscilla Crum (Curator, Asst. in Education). Subject- Gallery representing portrait artists, biographical data on various artists and portrait of Senator Byrd. Photographs. Dates- 6/45 - 11/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statewide tribute to John Powell (a native of Virginia) and the presentation of his \"Symphony in A\". Date- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Mrs. J.G. Pollard and L. Cheek. Subject- Correspondence with Pratt as a trustee. Discuss first Easter egg exhibition in 1949 and Hammer visit. Letter from Schaffer (A La Vieille Russie) in 1949 about lending some pieces for an exhibition. Includes a few letters from Mrs. Pratt before she died, about a Faberge table donation in 1942 and donating \"Twice Seven\" to the Library. Establishment of the Fellowship fund, including letter from Twombly as early recipient. Pratt Collection: insurance estimates and installation. Gift of funds to purchase the first Artmobile from Pratt and Miller and Rhoads. Dates- 7/40 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, Fellowship committee, underwriting of Faberge booklet, terra-cotta statue of \"Diana\" from the Pratt Estate given to VMFA, newspaper clippings. \"A Plan For Fellowships For Virginia Artists\" as suggested by Mr. John Lee Pratt. Minutes from Fellowship Committee meeting, 6/12/42. Dates- 12/49 - 11/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. John Lee Pratt. Subject- Trustee/Museum business, VMFA fellowship updates, etc. Dates- 5/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown. Subject- Biographical data, fellowship recipients: Cynthia Morehead Smith, Paul Steuke, June Chapman, Fred Bonds, Richard Kevorkian and Reginia Perry. Pratt Collection: catalogue, except from forward by L. Cheek, questionnaire regarding Mrs. Pratt's initial contact/purchase sources for Russian Jewels, list of objects bequeathed by Pratt Estate. Dates- 1/57 - 1/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposals and cost estimates for Healy's Sitters exhibition and Pratt collection catalogues. Dates- 4/50-8/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek, Armand Hammer (Hammer Gallery) and Alexander Schaffer (La Vielle Russie Gallery). Subject- Legal claim against the Romanoff Family assets via the Pratt Collection of Russian Jewels. Possible lawsuit by A.G. Sharkey, President and Trustee of Marine Transport Service Corporation in NY who had judgment against Czar Nicholas Romanoff since 1918. Hammer and Schaffer dismissed it. Details of Pratt bequest, provenance of objects, announcement of bequest with sample of text to be used in pamphlet. Excerpt from \"Twice Seven\", by H. C. Bainbridge, E. P. Dutton and Co. Inc., 1934 (reference to Faberge Jewels owned by Armand Hammer). Dates- 8/47 - 10/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. J. G. Pollard. Subject- Installation, list of items on exhibition, security and transportation. List of objects in the collection of Mrs. Joseph E. Davies and pamphlets. Correspondence regarding various showings around the state - Roanoke in 1950 and Norfolk in 1951. Dates- 1/49 - 4/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from C. Humelsine. Subject- General correspondence to the VMFA membership, calendar of events, museum news. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to the media from the Museum. Subject- news releases about Museum events. Dates- 10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News releases about Museum events. Dates- 10/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- positions and duties for volunteers and guards during an undisclosed preview. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Gov. Price. Subject-proposed salary increases, Board meeting announcements, nomination of Colt to select work to go to the Annual Exhibition of American Art 1938. Dates- 1/38-11/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- On the occasion of his being collector of the Year 1964, his cookbook including photographs of VMFA and the menu from the Collectors Gala, newspaper clippings. Gifts: Lachaise drawing. Dates- 6/63 - 4/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, P. Grigaut and P. Near. Subject- A. Priest as Metropolitan Curator of Far Eastern Art, his service as a consultant to VMFA (1963-69) in the formation of the Asian collections. Correspondence on examination and provenance of works in the VMFA. Minutes of Executive Committee, 9/9/63, 12/8/64, minutes of Accessions Committee Meeting, 9/9/63. \"A Buddhist Paradise\", A. Priest, AIV, 1963. Newspaper clippings, postcards, etc. Dates- 1963 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by R.A. Velz (Administrator) and Mrs. J.G. Pollard. Subject- printing schedules for 1956, miscellaneous print job specs, etc. Dates- 11/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- asking local corporations to fund the printing of school guide sheets for the Museum. Dates- 8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence pertaining to bulletin layouts, copies of Members Bulletin Vol.9, No.'s 1and7 and copies of Christmas cards 1948-9, etc.. Dates- 7/44-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum publications: Contemporary Paintings 1946, Program Season of 1947-8, The VMFA Annual Report 1947-8, Virginia Art 1947 and Museum Bulletins: Vol.3 No.'s 1,2,4,6and9,  Vol.4, No.'s 4and5,  Vol.7, No.'s1,2,3,4,5,6,7,8and9,  Vol.1, No.8,  Vol.8, No.'s 2,3,4,5,6,7,8and9,  Vol.9, No.'s 1,4,5,6and8. Dates-9/42-5/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- securing a speaker (Robert T. Paine) for the exhibition \"Prints by Hiroshige\", thank you note to Mr. Paine, etc. Dates- 11/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- proposed programming for the Museum. Dates- 2/49-9/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and lecturers. Subject- proposed program/events and exhibition schedule, biographical information on lecturers, etc. Dates- 10/50-4/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Peter Mooz. Subject- Artmobile schedules, Three-Days-In-March, members travel, grants, pamphlets. \"Proposal For The Development Of American Writers And Resources With Special Emphasis On The Production Of New Forms Of Drama Created Especially For Television\"; The Mark Report\": A survey and evaluation of VMFA statewide programs. Dates- 1974 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safaris, Artist-in-Residence, lectures. Film series: \"The Romantic Rebellion\", exhibitions, COVA events, agendas, Professional Workshop. Dates- 1975 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Nancy Durett. Subject- violin recital 4/47. Dates- 4/46-2/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- memos to determine dates for the Trust Fund Orchestra to perform at the Museum. Dates- 9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison and L. Cheek. Subject- VMFA educational services, VMT and all manner of print and broadcast media promotion. Exhibitions, publicity schedules, press releases and newspaper clippings. Dates- 9/50 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General invitation to groups to participate in VMT. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Prospective givers: foundations and individuals. Date- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newsom Report: \"A Report To The Virginia Museum Of Fine Arts\", 11/19/58, Earl Newsom and Company, a study of VMFA public relations, information and communications responsibilities. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Various outside publications mentioning VMFA, 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Design and production of AIV: promotion, organization, printing schedules, contributors , etc. Catalogue \"Architectural Drawings in Virginia\" and \"\"Confessions of an Ex- Elitist\", M.W. Fishwick, Popular Culture Association, American Studies Institute, Lincoln University. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photo of the Museum and of the \"Brussels Tapestry Exhibition\" 1949, Museum publications: VMFA Catalog of Paintings 1938, The Collection of Catesby T. Jones, 1948, and the following VMFA Members' Bulletins: vol.10, no.'s 1-5, etc. Dates- 1938-1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- copies of the following publications: The VMFA Annual Report 1947-8, The T. Catesby Jones Collection, Contemporary American Paintings 1948, William James Hubbard, Three Virginians Behl, Hunter, Blaine, Portrait Panorama, Program Season of 1947-8 and Member's Bulletins: Vol.1, No.8, Vol.8, No.'s 2,3,4,5,6,7,8and9. Dates- 1947-8. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release, jurors. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the Parsons gift of the Egyptian Gallery and 25th Anniversary Fund Committee. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations to the VMFA's 25th birthday celebration for the affiliates, 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release announcing loan of Chinese wine vessel. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 25th Anniversary projects, press release: message from the President (Robertson). Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Appeal to Trustees for contributions to the Drama Festival.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: 28th Virginia Artists Rotating Exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing a network of local art centers and museums affiliated with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VMFA as regional jury center for the national exhibition \"Designer-Craftsmen-U.S.A.\", news releases, information on obtaining a jury and a speaker, etc. Dates-2/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Va. Architects, Photographers and Designers, seminar for Historical Administrators, VMT and Virginia Composers Concert. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release and photo for first issue of AIV. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release on Arts in Virginia. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains a cover letter for a mailing, no date. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing 25th anniversary events, exhibitions, VMT, etc. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing conclusion of 25th anniversary celebration with the presentation of awards to Colonial Williamsburg, The Old Dominion Foundation, sculptor: Carl Milles, architect: Eero Saarinen, collector\" Robert Lehman and Naval designer: William F. Gibbs for their outstanding contributions to the Arts in Virginia. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and M.B. Christison (Assistant Director for Collections and Education). Subject- obtaining the exhibition \"Built in the U.S.A.\", presenting programs related to the exhibition, biographical information on Phillip Johnson, etc. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- photo of \"Little Triton\" fountain for the Bulletin, copy of Members' Bulletin vol.15, no.1(9/54), etc. Dates- 9/53-7/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Members' Bulletin. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- working papers for Members' Bulletin, calendar of Museum events. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vol. 13 no.'s 1-9, 1952-5/53; vol. 17 no. 8, 2/57; vol. f19 no.'s 7 and 8, 3/59 - 4/59. Biographical data on Iren Marik, pianist, and reviews. Dates-1952 -53, 1957, 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Vol. 20 no.'s 4-6, 12/59-2/60 Dates- 12/59 - 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases: Tours organized through Virginia Federation of Women's Clubs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases: season opening production and call for volunteers. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Extended performances of VMT's \"Carousel\". Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Bus trips to VMT. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- listing of certificate winners and a gallery guide from the \"Virginia Artists\" exhibition 1955. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Portions of VMT concert to be broadcast with commentary and explanations of technique. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Programs and photographs. Dates- 1955 - 56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Information regarding the Museum's chapters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photographs [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing festival with guest artists: Helen Tamris and Daniel Nagrin. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Critic, Stella Adler, Speaker: Alfred de Liagre. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- TV news film of highlights of the College Drama Festival, script, telegrams and surveys to Virginia TV stations concerning air time and usage. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Announcement of individual participants announcing their attendance in the festival. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- loan of Cone collection from the Baltimore Museum of Art to VMFA for an exhibition, a catalogue of the Cone collection, news release about the  bequest of the collection to the Baltimore Museum of Art, etc. Dates- 10/49-6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Public information schedule for exhibition: \"The Architecture of Skidmore, Owings and Merrill\", \"The Little International\". Artmobile public and information schedule and Bulletin, vol. 19, no.2 10/58. Essay- The Little International Exhibition\", Fred Olsen, 4/57. Dates- 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills, reviews and biographical data.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- list of designers proposed for inclusion in the exhibition \"Design for Theatre\", tentative list, etc. Dates- 8/52-1/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing loan of painting by Winslow Homer. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Evaluation of the Discovery Television Series sponsored by the San Francisco Museum of Art. 1953-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Statewide Press Release announcing fellowships 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press Releases regarding fellowships 1961. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills and posters. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Buckminister Fuller. Subject- Exhibition of the work of 13 leading architects, opening lecture given by Buckminister Fuller, list of catalog content, gallery talk, press release, invitations and biographical data. Photographs. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing formation of a fundraising committee for the 25th anniversary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions: \"Drawings From Five Centuries From The Cooper Union Museum\", \"Hans Moller\", \"Is Photography An Art\", \"Sport and the Horse\", \"25th Anniversary\". Parsons gift of the Egyptian Gallery, Chamber Music Society, Virginia Artists, evening hours, speakers/lecturers, Virginia Art Alliance, state services, Fellowships, Search for a female collector with a collection of Imperial robes. Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases announcing exhibition of contemporary glass. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions: Skidmore, Owings and Merrill (AIA for Reynolds Building), publicity, progress report on exhibition arrangements. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Ivan Dmitri. Subject- Symposium on photography conducted by Dmitri with a panel composed of: A. Hyatt Mayor (MET) and Hilton Kramer (Arts Magazine). List of paintings and photograph comparisons and press releases. Photographs. Dates- 10/59 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Status report of the Broadway production. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about the loan exhibition. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Speaker 1957. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: History of Lynchburg Center published in the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Brief film on masterpieces of American silver, script and outline for the 25th anniversary program. Date- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains press releases.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains layout and planning for the publication. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of the moving of art objects, installations, physical plant and behind-the-scene workshops and people.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity stills.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Editorial Writers, agenda, and guest speakers, exhibitions, events, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Ms. Nemone Balfour. Subject- a ballad concert given by Balfour sponsored by the Museum, new release, printed material, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: R. Neutra lecture in coordinate with his VMFA exhibition. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- invitations to grand opening of the 10/54 VMFA addition. Dates- 9/54-10/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the Norfolk Museum affiliation with VMFA. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Bus tour and photograph. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Photographs of galleries. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing gift of marble statue \"Dawn of Young Womanhood\", Oronzio Maldrelli from Miller and Rhoads Department Store. Press releases from: Mariners Museum, National Gallery, Henry Ford Museum, Walker Art Center and the MOMA. Dates- 1959. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: purchase of Patronship by Richmond businesses for season tickets to VMT.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- radio transcripts and publicity releases. Dates- 1948-9. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 6/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases, publicity schedule 6/26- 7/22. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 5/56-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 4/51-4/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to media from the Museum. Subject- News Releases. Dates- 1952- 5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press releases for various museum events: theatre, exhibitions, films, etc. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Affiliation announcement of the Roanoke Fine Arts Center 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing the loan of \"The Ecstasy of St. Francis\" by Carravaggio. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release announcing the acquisition of a rare funeral monument from 2nd century B.C. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Advertising copy and selection of artist to draw a cartoon. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release for VMT promotion. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release announcing special schedule to accommodate bus trip from out of town. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Publicity schedule and advertising copy. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- scheduling a speaker (Bernard V. Bothmer) to coincide with the exhibition \"Smith's Egypt\", photo and biographical information about Bothmer, etc. Dates- 6/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition and Publication information regarding \"Sport and the Horse.\" [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- News Releases regarding newspaper column 1960. The column was carried in 50 Virginia newspapers as 42 weekly articles by Cheek. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Syndicated column written by Cheek as part of a promotion for the Museum's 25th anniversary. Contains a mailing schedule for the column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Return forms from newspaper publishers regarding column. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Promotional letter for newspaper column. 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast script for performance promotion. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from G. Friddell (Public Information Director). Subject- controversial nature of the \"American Painting 1950\" exhibition, James Johnson Sweeney was the juror for this exhibition, Sweeney biographical information, News Releases, exchange/gift publications of the catalogue to this exhibition, etc. Dates- 1/49-6/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast script promoting 25th anniversary year. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 25th Anniversary, broadcast scripts, VMT and list of Virginia and Washington TV stations. Dates- 1960. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Broadcast promotion script. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- press release with performance information  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release for VMT promotion. Dates- 10/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release concerning a 25th birthday year magazine, the inaugural publication of AIV. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Press release: Tours arranged by Virginia Federation of Women's Club in 6 Virginia towns to see VMT production of \"Carousel\" Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews of show. Dates- 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Introductory speeches. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"The Tempest\", \"The Mad Woman of Challiot\", \"Berkeley Square\", \"I Remember Moma\", \"Noah\", \"Blind Alley\", \"The Devils Disciple\", \"High Tor\", \"Oh Wilderness\", \"Private Lives\", \"The Petrified Forest\" and \"Victoria Regina\". Dates- 1955 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Assigned design projects and newspaper clippings. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- National broadcasts focusing on topics of national interest, VMFA requests for financial assistance to host a \"Meeting\", pamphlets and photograph. Dates- 1953 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: G.E.K. Smith, Aubrey Bodine and Gordon Bunshaft, biographical data, Competition promotion, preliminary text for official entry forms, press release. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- list of pieces included in the \"Virginia Artists 1953\" exhibition, list of purchases made from the exhibition, information on the jury and on purchase prizes, letter from Jacques Lipchitz, etc. Dates- 12/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information about the exhibitions and photographs of the artists and their works. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Jurors: Richard Lippold, Isabel Bishop and Perry Rathbone. Press release announcing event.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Eighteenth annual exhibition held at the Museum and sponsored by the Camera Club of Richmond. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- fountains that flank the Museum's front entrance. Dates- 9/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- photo of conservation lab, gift and exhibition of the Williams collection of art at VMFA, announcements to and articles in major art publications about the gift of the Williams collection. Dates- 3/52-10/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition \"The American Cartoon\", original American cartoons from the collection of Mr. Art Wood, invitations and R.S.V.P.'s to exhibition preview, photos of some of the pieces of cartoon art, etc. Dates- 5/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Wm. Quillan Jr. (President of Randolph Macon Women's College). Subject- Loan of Randolph-Macon's collection of paintings. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Isobel C. Lee (Steuben Glass). Subject- Loan from Queen Elizabeth, installation, lighting and press-release. Dates- 7/10/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile, AAM, Jamestown Foundation, loans, Accession, gifts, biographical data and resumes. Exhibition: Randolph Macon Collection. Letter from Richard Rogers to lecture to VMT, Reston Foundation: Minutes of the Executive Meeting, 9/12/60. Dates- 9/60, 5/62 - 12/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Loans, contributions, acquisitions, exhibitions and Africa Gallery. Dates- 1/68 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to W. C. Cottrell (Elec. Corp.). Subject- Proposal and technical information for Audio-Guide radio-lecture, pamphlets, blueprints/plans of galleries. Dates- 5/72 - 8/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, Priscilla Crum and M. Christison. Subject- Broadcast of Biennial Jury, notes from WMBG broadcast, 12/6/46, \"What Is Your Art Museum\", participants: Priscilla Crum (Curator of Education), Edward Davis III (Curator of Decorative Arts) Mrs. J.G. Pollard and T. Colt. Notes from WLEE broadcast, \"Know Your Museum\": a weekly series with guests from the local arts community and \"For Parents Only\": a children's radio program. Dates- 2/46 - 11/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- radio talk shows and transcripts. Dates- 12/37-9/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mr.and Mrs. Robert C. Randolph. Subject- the loan of a portrait of Wm. Henry Harrison by Rembrandt Peale to the Museum for the inaugural exhibition and an additional later loan. Dates- 9/35-11/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek and Mary F. Williams. Subject- The service of Beatrice Von Keller as VMFA Acting Director during Colt's military duty. Biographical data, Randolph-Macon Collection including the acquisition of the Bliss Collection. Dates- 7/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Hours of operation, policy, menu. Dates- 1964 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and the Frank Rehn Gallery. Subject- loan of paintings to inaugural exhibition of VMFA and later proposed acquisitions from the Frank Rehn Gallery, etc. Dates- 9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Artist from West Virginia: application and recommendation for a Rosenwald Fellowship by T. Colt. Dates- 6/49 - 10/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rennolds' service as a Trustee and entertainment committee. List of objects in the home of her mother, Mrs. John Kerr Branch, that may be of use to the VMFA. Dates- 1/53 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Policy and requests for rental of museum meeting rooms. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for state/federal funding for the creation of the \"Latrobe Theatre\" (never built), a professional theatre organization. The design of the Theatre was based on plans by the 19th century architect Latrobe. \"The Virginia Museum Theatre\", statement of facts in relation to charges appearing in the Richmond Times - Dispatch, 10/13/66. Subject- 8/65 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of requests and general correspondence. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison, Edward Kallop and L. Cheek. Subject- Inquiries concerning specific artists, objects, valuations, conservation/restoration, etc. Dates- 6/56 - 6/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- L. Cheek served on the Board of the Reston Foundation Community Program, includes roster of board members. Dates- 11/10/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to the Executive Director of the Reston Fund. Subject- L. Cheek's membership on the Board, and proposals for development of the Reston Community, low-cost housing, maps, agendas, Reston architects, Minutes of Annual Meeting- Reston Community Foundation,12/15/64, 4/25/65, 11/12/67, 4/8/68. Dates- 6/65 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VMFA membership and letter of condolences to the Reynolds family. Dates-10/70 - 6/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. cheek. Subject- R. J. Reynolds service as Chair of VMFA promotion and development committee. suggested organization agenda for the meeting of the Public Relations Development Committee, to further the advancement of VMFA. Contributions, invitations and photographs. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"R.S. Reynolds Memorial Award\", awarded annually to the architect or group of architects who make the most significant contribution to the use of aluminum, aesthetically or structurally, in the building field. Theodore Rozak chosen to commission the first sculpture. Dates- 5/58 - 11/6 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Miss Katherine Rhoads. Subject- a bequest to the Museum. Dates- 5/35-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from G. Martin (Secretary of VMFA). Subject- Rhoads Medal awarded to persons who have made a notable contribution to Art in Virginia; list of recipient, excerpts from the Minutes of the Executive Board, 5/25/69/. Biographical data on Concetta Scaravaglione, designer of medal. Medal awarded to Walter Spencer Robertson. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence to and from Rhoads as Vice-president Board of Trustees. Dates- 1934-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contributions to a purchase fund in his memory. Dates- 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt, L. Cheek, Mrs. J.G. Pollard and P. Mellon. Subject- Museum business, exhibitions. Pratt Estate, John Barton Payne Endowment, Resolutions in memory of Judge Payne, resignation of Colt, Fellowships. List of employees and job descriptions. List of Benefactors, Patrons and Life members, Board of Trustees, Rockefeller Foundation, segregation, contributions, gifts and accessions, including Mellon. Dates- 11/40 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, W. Robertson, Mrs. J.G. Pollard and W.S. Rhoads. Subject- General letter to membership from the President (W.S. Rhoads), Webster S. Rhoads Medal, Artmobile III and South Wing. Dates- 1951 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General Museum Business, VMT, policy regarding expense accounts and museum entertaining. Dates- 5/57 - 11/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitation list, invoice for cocktail party honoring W.S. Rhoads. Dates- 5/8/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Westwood Winfree (Pres. RAA). Subject- Winfree's participation in the Virginia Rotating Exhibition and other events. Requests for restructuring of jurying procedure. \"Reasons For Suggesting A State-Wide Artists Study Committee To Be Sponsored By The Virginia Museum Of Fine Arts\". Dates- 2/56 - 9/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- Richmond Chamber Music Society programming seasons: 1950-1, 1951-2, 1952-3, 1953-4 and 1954-5, membership rosters 1951-2 and 1954-5, etc. Dates- 10/50-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- proposed policy for relations between VMFA and Richmond Chamber Music Society (conducting events there), listing of Society members, etc. Dates- 1/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- To increase Jaycees interest and support of VMFA. List of member organizations. Certificate to L. Cheek as a member of the \"Civil War Centennial Committee\", Minutes from the \"Society of Architectural Historians,1/30/58. The presentation of the \"Distinguished Service Award\" to L. Cheek. Dates- 11/60 - 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Disturbances in area of Westmoreland Place (Cheek residence), Cheek's Anniversary Party. Presentation of Canal Locks to Mayor M.M. Crowe. Dates- 2/64 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Field trips taken to the museum by schools throughout the state, 1950-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Broadening cultural horizons in Richmond, proposal for Civic Center in downtown Richmond and the necessary steps for improvement of downtown, editorials, newspaper clippings. \"Plight Of Museums Is Very Real\", L.J. Ahlander, 11/25/65, Washington Post, \"Activities Center Study For The City Of Richmond\", Wm. A. Briggs A.I.A. and B.R. Johns A.I.A., Associated Architects, 8/1/64, \"Modern Living\", 11/6/64, Time and \"Are Most cities Too Ugly To Save\", 11/30/64, U.S. News and World Report, Inc. Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains financial statements for the organization. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- proposed relationship of The Richmond Film Society with the Museum (use of Museum facilities), Film Society programs 1951-2, 1952-3, 1953-4, 1954-5 and 1955-6, etc. Dates- 6/50-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of compliment to editors and journalists of Virginia periodicals regarding VMFA. Dates- 7/58 - 19/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Priscilla Crum, T. Colt, L. Cheek and M. Christison, Theresa Pollack, H.H. Hibbs and Mrs. J.G. Pollard. Subject- Exhibitions and musical programs. Dates- 9/45 - 11/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, J. Schaeffer (General Manager, RSL) Subject- Opening performance and concert dates. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Gala opening event of Artmobile. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and L. Willock (Exec, Dir.). Subject- Renewal of Affiliate members. Dates- 1961 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Charter proposal for a Roanoke museum and minutes from the Roanoke Fine Arts Committee. Dates- 12/47 - 9/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Special building committee, draft of letters from Affiliates/Chapters in support of VMFA expansion to be sent to the House Appropriations Committee , members of the Senate and members of the State Finance Committee. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and E. Will (Pres.). Subject- Purchase of \"St. John the Baptist\", Rodin, in memory of W.S. Robertson. Dates-2/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artmobile proposal, museum business, exhibitions: \"George Stevens Makes A Film\". Fellows organizing campaign, selected list of paintings in VMFA permanent collection. Rosters: Members of commission of State Capital and Outlays and Means of Financing; VMFA Executive Officers and committee's. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter from the President to the membership (W. Robertson), grant proposal for North Wing architectural plans.  List of objects needed for VMFA collections.  Rejection of the north facade by the Arts Commission.  Schedule of events, newspaper clippings.  \"Connoisseur's Comments\", guided VMFA tours narrated by world-famed collectors, critics and curators.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- letter of interest in erecting a monument to Bill Robinson. Dates- 12/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Rockefellers' membership in the Fellows and their subsequent donation to aid in the Drama Development program. Dates- 1955 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Charles Fahs (Dir. Rockefeller Foundation), W.S. Rhoads. Subject- Proposal for the formation of VMT with initial funding from the Foundation, \"Charter for the Rockefeller Foundation\": Statement of purpose and methods of operation. Dates- 1/50-12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Roman Bronze Works Inc. Subject- casting busts of Gov. Pollard and Judge Payne and casting other figurative groups. Dates- 9/35-1/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of authentication. Dates- 4/60 - 8/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Addresses made by F.D. Roosevelt upon the opening of the Museum of Modern Art. Dates- 6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Matilda McCord Roper (Mrs. George W. Roper). Subject- donations. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, expansion of VMFA print collection, The Alverthorpe Collection, loans of prints. Dates- 8/65 - 12/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA as recipient of a rose garden by the Garden of the Patriots. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- M. Ross as VMFA advisor, on retainer, for Byzantine and Medieval acquisitions. the Heeramanecks and Hunt Collections. Dates- 9/65 - 1/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data and brief history of Rothschild family. List of paintings in VMFA from Rothschild Collection. Dates- 1963 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Text and pamphlet for the opening of the Melchers Room. Photographs. Dates- 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Edward B. Rowan. Subject- mural competition for post offices in Petersburg, Hopewell and Richmond. Colt acted as chairman for a regional committee to carry out this competition for the Procurement Division, Public Works Branch of the Treasury Department, etc. Dates- 3/30. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- securing a speaker (Mr. Everett Parker Lesley, Jr.), obtaining a transparency from Time magazine of one of the Museum's eggs, etc. Dates- 3/53-8/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- General correspondence to Trustees regarding Museum business and events. Photographs and slides. Date- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- General correspondence regarding loans, acquisitions and invitations. Dates- 1/62 - 11/73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Eero Saarinen. Subject- Aline Saarinen broadcast on the VMT Shakespeare Preview. Drawing. Dates- 1/56 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibition: \"Master Drawings\", with lecture by Paul Sachs. Theft of Degas drawing on loan to VMFA from the Fogg. List of London and Paris art dealers. Dates- 5/51 - 6/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- letters from other U.S. Art Museums about staff salaries and Curator's Report activities from the 1st season 1/16-5/24 1936. Dates- 1936- 7/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for purchase of cases from the Greek Gold exhibition. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Form letters: members, advertisements, donors, other institutions regarding loans, lectures and publication requests, etc. Dates- 1967 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Samuels gift of building for the Front Royal Library. Loan and cleaning of \"View Near Oxford\" by Richard Wilson. Dates- 4/52 - 9/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- 10th Miller and Rhoads Women's Forum; invitation to Philip Johnson to serve as a speaker. Biographical data on James Parton and Max Abromovitz. Dates- 8/51 - 6/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Hans van Weeren-Griek. and Concetta Scaravaglione. Subject- exhibition of her work and insurance of a piece that was damaged. Dates- 9/40-7/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events and mailing schedules. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Events and mailing schedules, Paul Taylor Dance Tour, Safari-Dinner, agendas, etc. Dates- 7/70 - 7/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Appraisal of an agate cup belonging to Mrs. Paul Mellon as a work of art, for the Customs Commissioner. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- war-time high school art exhibition held at Miller and Rhoads department store, list of hostess for this event. Dates- 1943-4. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Invitations and general correspondence regarding the opening's of new art centers/buildings of various institutions, anniversary celebration, National Presentation Broadcast of Artmobile. Dates- 9/60 - 9/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.G. Pollard. Subject- Loan of items in his Collection to VMFA and his service as Vice-President. Exhibitions: American Contemporary Prints and Sport and Horse. Melcher Estate, accessions and acquisitions, list of gifts to VMFA. Dates- 1950 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Scott, Horner and Mason, Inc. Investment Securities in Lynchburg, VA. Subject- possible investments by VMFA, financing the new wing and the possibility of matching a Public Works Administration grant. Dates- 5/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Seay collection of Decorative Objects, list of objects in Seay home. Dates- 1/39 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and letters to and from Leslie Cheek. Dates- 1956.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Service reports on traveling exhibits. Dates- 1948-49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence about slide loans. Dates- 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Museum Services. Correspondence regarding loans 1952. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Houdon statue of Washington on loan to VMFA, insurance valuation. Seymour's lecture on \"Houdon in America\" and panel discussion on contemporary sculpture. Opinions on dating and provenance of VMFA objects. Dates- 5/50 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Shalett's articles on the VMFA for the \"Saturday Evening Post\" and \"The Diplomat\" Dates- 8/56 - 10/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, letters of invitation to VMFA events, College Drama Festival. Melchers Estate: \"The Last Supper\", newspaper clippings and postcards. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Virginia Film Society, Dance Tour, VMT: job descriptions, Table of Organization, staff hours, Theatre Associates and Annual Theatre Train. Date- 4/66 - 8/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Agenda and events for Entertainment Committee, loan of Col. Anderson bequest items. Dates- 1/59 - 5/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and E. Shiflet (Sec. of Education). Subject- budget, museum business, financial profile, role of office of Education and pamphlets. Executive Order #20 and #21: Reassignment of VMFA to the Office of Education. Dates- 8/72 - 12/74 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Dealer in antique English silver and his gift to VMFA of a silver teapot. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT, juror search, biographical data, exhibition catalogues, loans of art work, accessions, gifts and general museum business. Dates- 1956 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- General correspondence, exhibitions, requests for publications, pamphlets, invitations, exhibition catalogues, A.D. and W.C. Williams Trust Fund. Photographs. Dates- 1969 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- paperwork authorizing R.A.Velz and W.J. Rhodes to sign vouchers and checks, list of Virginia Museum Theatre expenditures 1956-7. Dates- 2/56-11/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Blank stationary.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- excerpts from Virginia Architecture exhibition catalogue, miscellaneous correspondence about catalogue,  etc. Dates- 11/58-1/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- compliments on exhibition \"Architecture in Virginia\", thank you notes to the Museum about exchange/gift publications of exhibition catalogue-Architecture in Virginia 1776-1958: The Old Dominion's Twelve Best Buildings, etc. Dates- 9/58-4/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- biographical information on various 20th century architects. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- G. Smith (architect, writer and photographer), biographical data, and his collection of Travel Posters. Newspaper and magazine clippings, invitations. Application for Fulbright grant. Dates- 2/52 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Her membership on Executive Board, donation and contributions. Dates- 5/51 - 4/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. Marrow Stuart Smith, Virginia artist, correspondence with museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of alumnae in Virginia. Dates- 9/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, M. Christison, and Mrs. J.A. Pope (International Traveling Exhibition Service). Subject- Exhibition: \"Swedish Textiles Today\": catalogue, pamphlet. Brussels World's Fair, U.S. Pavilion. Catalogue of Traveling Exhibitions for 1961-62. Dates- 4/53 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- S.A.H Directors meeting in Richmond, formation and organization of a Virginia chapter: agendas, lists of prospective members, directors of S.A.H., minutes from S.A.H. meeting. Dates- 12/52 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Meeting agendas, Architects Virginia Tour, preservation of the National Capitol, Shirley Plantation, landmarks in danger. Proposal to coordinate the activities of the SAH with AIA and the National Trust for Historic Preservation in the field of Historic Buildings Preservation. SAH: Minutes of Executive Board, 10/26/57, 5/17/58, 10/18/58, Treasurers Report, 1/58-4/58, Newsletters. Dates- 1956 - 58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Lists: Fellows, Staff and Board of Trustees. Invoices, receipts and newspaper clippings. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Dinner schedule, agenda and pamphlet. Dates- 5/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Confirmation for Dinner event and agenda. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fall meeting to be held at VMFA, conference agenda, mailing list and pamphlets. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Meeting agendas, events schedules, attendance rosters, officers, newsletters, registration forms. Report of SEMC '72 meeting, \"SEMC Notes\", no. 1, 1974 and no.1, 1975. Dates- 1972 - 77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- printed material for exhibition \"Southern Exposures\", the following essays: \"Coming of Age of Photography\", \"Down the First Century of Photography with George and Heutis Cook\", \"Concerning the Cook Collection and Its Recovery of the Epos of the Attic\", etc.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Williamsburg International Assembly Speakers, biographical data: Edward Downes, Charles Seymor, Harris Prior and Arthur Drexler. Dates- 1951 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Gaines. Subject- Biographical data of speakers: C.V. Donovan and Joseph Curtis Sloane. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- printed material for the opening for prospective members. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safari Theatre Dinners, loan exhibition previews, maintenance. Dates- 1967 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Essay- \"The Art Museum As A Community Center\", by L. Cheek. Pamphlets, newspaper and magazine clippings of other museum programs. Date- 1961 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- early interest and planning of the exhibition \"Sport and the Horse\", etc. Dates- 5/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Frederick Robinson (Dir., SMFA). Subject- SMFA exhibition of Virginia Artists. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibitions, security, general operations and museum business. Employee policy, regulations, salaries, etc. Dates- 1962 - 66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General Museum operation, exhibitions, publicity evaluation, landscaping of Confederate Chapel, loan exhibition previews. Dates- 1963 - 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Employee policy/regulations, programs division, collection divisions, staff information and table of organization for Theatre Arts Committee. Newspaper clippings and salaries. Dates- 1966 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Suggested structure of staff organization and salary scales. Dates- 2/54 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA By-Laws 1958 and 1959, income sources, proposed improved operations plan. Salary information from the Smithsonian Institution. Job description for Assistant Administrator. Date 1959 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Head of Collections Division and Education Supervisor, Program Division. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Business meeting and reception regarding architectural improvements, gifts and loans to the State Department reception rooms. Dates- 4/66 - 6/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- reception for General Assembly Wives. Dates- 2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Service reports for loans of exhibits, films and slides. Dates- 1951-1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for information regarding circulating visual materials 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member requests for exhibitions 1952-53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member requests for exhibitions 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Non-member Requests for gallery visits and lectures 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Out of state inquiries about Museum services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Out of state inquiries about Museum services 1950. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of prospective organizations for using extension services 1948-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Requests for circulating visual materials and exhibitions 1949-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General Correspondence Traveling Exhibitions 1949. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains information on the artmobile. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains statement for addenda to the Governor's report concerning the VMFA.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between L. Cheek, Jr. and Mr. Saul Steinberg. Subject- exhibition of Steinberg's work and lecture by Steinberg, etc. Dates- 8/53-1/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening of new auditorium, purchase of pianos and price lists. Program for the Chamber Music Society, newsletters from Steinway and Co. , 4/55-6/55. Dates- 4/55 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Philip N. Stern, Chairman of the Art Commission, Commonwealth of Virginia. Subject- Art Commission meetings, funds for museum equipment, funding from the Public Works Administration, architectural exhibition, etc. Dates- 7/35-10/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Steuben correspondence with the VMFA, 1938-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Ten Talents In the American Theatre\", Ed. David Stevens; \"Theatre For Art's Sake\" by L. Cheek. Proposal to the Rockefeller Foundation for financial support of VMT. Dates- 12/49 - 5/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Near. Subject- Her gift of \"La Signora in Biege\", Lazzaro Donati. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, preliminary design program for South Wing Addition, letters to other museums regarding design, security and general building functions. Dates- 1948-49, 1962-63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Jas. N. Trevillian (Secretary). Subject- Conductor of the New York Philharmonic Orchestra, concert at the VMFA and program. Dates- 1947 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between VMFA and Gordon E. Strause, 1935-40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Strause and various Museum staff. Subject- exhibition of his collection at the Museum, written complaints by Mr. Strause, Strause is named 1st honorary benefactor of the Museum by the Board of Trustees. Dates- 3/36-5/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J. G. Pollard, T. Colt and L. Cheek. Subject- Lewis S. Strauss, founder of the Albert Einstein Award (for achievement in Natural Sciences). Chairman of the Atomic Energy Commission, his service on the VMFA Finance and Membership committees. Letter of Henry Anderson regarding discussion with Paul Mellon and VMFA expansion potential. Newspaper and magazines clippings, Artmobile, gifts and contributions. Dates- 1945 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Fellows: theatre Orientation, general meetings, prospective Fellows, report of the Fellows 5/3/67. Date- 1965-71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- As a Trustee and member of the development committee. Contributions. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard, L. Cheek, Jr. and Mr. William A. Stuart. Subject- Trustee/Museum business, etc. Dates- 7/51-8/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Julia Sully to the Museum. Subject- Virginia Art Index. Dates- 1935-48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and J. McGee (Sunrise, Pres.). Subject- \"Sunrise\", Charleston Cultural complex, budget analysis, roster of Executive Board, Annual Report, 1971, pamphlets. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt and L. Cheek. Subject- Early correspondence concerning museum services, statement of purpose, Pratt Bequest, exhibitions and requests for publications. Dates- 7/45 - 12/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General correspondence, request for publications, employment, Fellows, Russian Loan Bill, gifts, contributions, biographical data. Dates- 6/56 - 5/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Museum business, loans of art works, list of objects for long term loan, zoning ordinance. Paul Tishman Collection, Troubs Collection of Russian miniatures. Provenance of St. John the Baptist, Rodin. Pamphlets, brochures and press releases. Dates- 2/70 - 10/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. J.G. Pollard, M. Christison, John Canaday and Maurice Bonds. Subject- Informal discussion series on art, artists and technique. Topics: Lithography, sculpture, restoration, art history etc. Includes biographical data on lecturers and exhibitions. Excerpt from \"American Silversmiths and Their Marks II\", by Stephen G.C. Ensko. Dates- 9/48 - 3/49 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding Mrs. A.I. duPont's gift of tapestries to the VMFA and a subsequent exhibition, 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding taxes on honorariums, admissions and rental space, 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA series of weekly TV programs, list of suggested topics, program guests, resource information from other Institutions, film rentals, television presentation of the 25th Anniversary and minutes of the Mayor's Committee on Educational Television, 11/11/53. Dates- 3/54 - 1/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from M. Christison. Subject- The development of a public television station to be shared by educational institutions. TV question and answer scripts and newspaper clippings. Dates- 1/49 - 7/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings. Dates- 1961-62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Salary scales, job openings at VMT, applicants, referrals, biographical data, financial statements, staff tors and guest speakers. Dates- 3/58 4/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Thalhimer. Subject- Biographical data, production, general theatre administration and Ford Foundation Fellowship Grant. Dates- 5/58 - 7/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Basil Langton. Subject- Langton's service as VMT guest director of \"The Tempest\", in celebration of the Jamestown Festival; program and procurement of professional actors. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Wm. Thalhimer Jr. Subject- Exhibit: \"Habiliments for Heroines\" underwritten by Thalhimers, VMT: \"Lady in the Dark\", Lorren Aldrich Collection. Catalogue: \"The Helena Rubenstein, Princess Gourelli Collection\", Deluca, Editore Roma, June 1953. Dates- 11/51 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His service as a Trustee and Chair of the Theatre Arts Committee on theatre and Television, museum business, salary scales, general operation of VMT, budget, income, newspaper clippings. Contributions and gifts. Dates- 6/52 - 3/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Underwriting of Mediterranean court, plants and flowers. Gift of Sandwich glass. Dates- 5/55 - 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Thayer's service as special assistant to the Secretary of State for Cultural Affairs. Biographical data, UNESCO, ICOM, International traveling Exhibitions, placement of American works of art in United States Embassies. Dates- 5/59 - 12/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committee Minutes 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Committee minutes, agendas and programs, box office grosses etc. Letter from Paul Mellon. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Establishment of a theatre Collection by Louise Branch of drawings, scenery and costumes. Dates- 2/59 - 3/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Thalhimer. Subject- Proposal for costume ball. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Morale and general organization of the VMT Associates, proposed speakers, newsletter and roster of VMT Associates. Dates- 4/57 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and William Morrison. Subject- taped readings by Henry Fonda, Lee Remick and Olivia deHavilland on the anniversary celebration. Reviews and letters to other film stars. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Safari-Dinner agenda and setup. Dates- 10/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reviews, gift of Dan River Mills fabrics for costumes. Programs: \"Streetcar Named Desire\", \"School For Wives\", \"Camelot\" and \"The Odd Couple\". Dates- 1967 - 68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- reviews, letters of compliment. Program: \"the Royal Hunt of the Sun\" Dates- 1968 -69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and staff hours. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Report of Acoustical Analysis for Auditorium of Virginia Museum Theatre\" Dates- 9/1950 and 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Review, performance production. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Theatre-designer: salary and letters of recommendation. Dates- 1955 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMT, Dance, Film and Chamber Music Societies: financial statements, salaries, budgets, production costs, income records, purchase of stage equipment and suggested future of organization. Dates- 2/54 - 12/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- bus tours from Virginia towns for Theatre evenings, sponsors by Virginia Federation of Women's Clubs, newspaper clippings. \"The Virginia Club Woman\", vol. XXXII no. I 8/55. Dates- 1/59 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Chairman of Yale Drama Dept., his service as consultant to VMT, budget suggestions for proposed VMT, various drama activities, playbill, budgets from other University Drama departments. Dates- 1/56 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program, letters of disagreement between directors and actors. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The first annual event, critic and counselors: Virginia Freeman, Meriam Rosen, Dan Wagoner, Patricia Wityle. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Valerie Gettis as guest speaker/artist. Dates- 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Invitations to college Presidents. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Alan Schnieder, Speaker: Jo Mielziner. The 1st College Drama Festival, guest lists and exhibition of Jo Mielziner's theatre designs. Newsletter. Dates- 8/56 - 4/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Harold Clurman, Speaker: Norris Houghton. Events schedule and program. Dates- 4/57 - 2/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Norris Houghton, Speaker: John Gassner. Event agenda/program, brochures. Dates- 4/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Henry Hewes, Speaker: Marc Connelly, reception, production procedure, etc. Newsletter 2/60 Dates- 10/59 - 2/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Stella Adler and Speaker: Alfred de Ligre, Jr. Event schedule, festival speaker, program, biographical data, reviews. Dates- 11/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Event agenda, scheduling, program and newspaper clippings. Dates- 2/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Critic: Robert Lewis, Speaker: Edward Albee. Event agenda/program, brochure, pamphlet, etc. Dates- 10/56 - 4/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Original drama by John C. Collison, VMT Premiere. \"New Play in Virginia\", Wm. Morrison, Encore vol.6 ,no.5 Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and L. Cheek. Subject- Reorganization of Museum Theatre 1972-73, budget and summary of proposals. Additions to VMFA statutes and By-Laws. Theatre Committee annual Report 6/30/67. Dates- 5/67 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Contributions, minutes of Theatre Patron Campaign Committee. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- theatre Arts Committee Executive Meeting minutes 6/30/70 and 7/6/70, Rosters for various Executive committee's of VMFA. Reviews and pamphlets. Dates- 9/69 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- HEW grant to produce and circulate throughout Virginia a play during 67-68 season, suggested dramas. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions: \"Gibson Collection of Contemporary Italian Art\", \"Contemporary Japanese Art\", \"Ten Reynolds Sculptures\". Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, A.H. Ballet and Robert Telford. Subject- General VMT business, schedule of events, scenic design, reviews, performance, staff policy/procedure, ticket prices, season subscriptions, etc. Dates- 1955 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- College Drama Festival, Dance Society and Chamber Music Society. Performance programs, events schedules, guest director contract, pamphlets and contributions. Dates- 1959 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- General Theatre Business, contractual agreements, events schedules, Richmond Film Society, College Drama Festival, financial statements, theatre reviews and job applicants. Dates- 5/61 - 9/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- theatre openings, job descriptions, applicants, hours. Dates- 12/62 - 3/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT, Vignettes tour, general estimate of costs, Drama, Dance and Music programs.  \"Virginia Report For State Arts Agency Individual Projects July 1, 1966- June 30,1967\" and \"Performing Arts in Virginia Education\" an introductory survey. Dates- 1966 -68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Budgets, financial summary, events schedules, newsletters, etc. Dates- 1969 - 70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Season events, programming, budget and revenue, newsletters, list of season subscribers and press kit for the Mummers Theatre, Oklahoma City, Oklahoma. \"Constitution of the Virginia Museum Theatre Associates\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Theatre business, budgets, salaries, production schedules, invitations, program design, contracts, etc. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Letters to and from VMT subscribers, program for \"Purlie\". Proposals for summer season productions, opening night telegrams. Dates- 1974 - 75 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Operating expense appropriation, \"VMT Sound System Report\", and synopsis of No Title play of the life of Lord Byron by Romulus Linney (later titled \"Childe Byron\"). Dates- 1975 - 76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Reviews. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Keith Fowler. Subject- Reviews, production calendar and letters of compliments. Dates- 1970 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Event underwritten by the Weeden Foundation. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letter of invitation, remarks after preview. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Programs. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Payment for use of two geese. Program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Financial report and program. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Program, reviews, letters of complaint from theatre patrons regarding play content. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program, search for guest director. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Review, program and editorials. Dates- 1969 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Letters of complaint and approval from theatre patrons. Dates- 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List of series underwriters, proposal for music lecture series conducted by Dr. John White. Dates- 10/58 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Patron financial support and proposal for a Sunday lecture series: \" The Eager Listener\". Dates- 9/59 - 9/61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Harpist: Nicanor Zableta, brochures of concert series sponsored by other museums and galleries. Dates- 1/50 - 1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Program Dates- 6/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Morton Thalhimer. Subject- General letters to theatre subscribers, brief outline of the five scheduled plays and descriptions of the major characters. Dates- 1957 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Playbills, magazine and newspaper clippings of performances in theatres other than VMT. Dates- 12/54 - 11/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews and programs for \"Separate Tables\", \"The Skin Of Your Teeth\", \"Ondine\", \"Kiss Me Kate\" and \"The Kids\". Dates- 1959 - 60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Robert Telford. Subject- Rehearsal schedules, invitations, programs: \"Life With Mother\", \"The Limbo Kid\", \"Pygmalian\" and \"The Brothers Karamazov\". Dates- 1961 - 62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews, letter/telegrams of compliment. Programs: \"Teahouse of the August Moon\", \"The Woman from Colchis\", \"Hall of Mirrors\", \"Caesar and Cleopatra\" and \"The Most Happy Fella\". Dates- 1962 - 63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reviews, letters and telegrams of compliment. Program: \"A Thousand Clowns\". Dates- 1963 - 64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Robert Telford. Subject- Reviews, letters/telegrams of compliment. Programs: \"The Admiral Crichton\", \"Hedda Gabler\". \"Tartuffe\" and \"No Time For Sergeants\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Reviews, letters/telegrams of compliment. Programs: \"The Comedy of Errors\", \"The Visit\" and \"Fanny\". Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters/telegrams of compliment. Programs: \"Androcles and The Lion\", \"The Miracle Worker\". Contributions from Dan River Mills. Photographs. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Reviews, letters/telegrams of compliment, opening night gala, Safari Theatre/Dinners. Programs: \"The Glass Menagerie\", \"Once In A Lifetime\", \"Julius Caesar\", \"Blithe Spirit\" and \"Three Penny Opera\". Dates- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown, Keith Fowler and Ken Letner. Subject- Reviews and Letters/telegrams of compliment. Programs: \"Charley's Aunt\", \"The Sorrows of Frederick The Great\", \"Uncle Vanya\", \"Twelfth Night, On What You Will\" and \"the Man Who Lost the River\". Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- Timetable, production schedules, Safari theatre Dinners, programs and reviews. Dates- 1972 - 73 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters to former subscribers seeking financial assistance for the upcoming season. Photographs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letter/telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and Keith Fowler. Subject- VMFA By- Laws 1972, Minutes of Theatre Arts Committee 10/21/71, agendas, budget and cost estimates. Dates- 1955 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Programming, policy for relations to the VMFA, contractual agreements, events schedules, promotion plans and financial statements, programs and brochures. Executive board meetings: 7/57, 11/57, 2/58, 4/58, 5/58. Dates- 4/56 - 9/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters and contributions from Chamber Music Society Patrons. Dates- 1956 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Proposal for the formation of the Dance Society, guest list, officers, policy regarding the Dance Society's relationship to the VMFA. Minutes of Executive Board, 5/11/56, 6/12/57, 7/57, 12/57. Receipt and attendance records, contributions, programs, pamphlets and guest performers. Dates- 5/56 - 5/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letters and contributions from patrons of Dance Society. Dates- 1956 - 57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Rockefeller grant to the museum to develop theatre and a program in drama, 1955. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Kay Rockefeller. Subject- Traveling exhibition troupe for children's theatre: financial statement and invitations. Dates- 9/57 - 3/58 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program for \"Rossum's Universal Robots\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT designated seating area according to race, and letters of protest in support of Dr. Mary Elizabeth Johnson. Dates- 1/56 - 5/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letters/telegrams of compliment. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Robert Telford and Morton Thalhimer. Subject- Attendance records, publicity program and biographical data. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters and telegrams of compliment. Dates- 1960 - 61 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cost estimate, theatre needs and improvements. Date- 12/56 - 7/57 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sample survey, list of Chapter/Affiliate communities. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Morton Thalhimer and Robert Telford. Subject- Theatre Arts Committee agenda, VMT proposals for: director, administrator, production and apprentices. Date- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"The Gallows Man\", limited performance schedule, invitations. Dates- 1958 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Events program, list of composers represented. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cancelled, considered distasteful for VMT audience. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Program and letters, telegrams of compliment. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- floor plans. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- AAMD conference, theft of Roualt drawing from Toronto Gallery, requests for publications. Dates- 5/50 - 1/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains reports concerning slide sets and film strips distributed throughout the state. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Fashion designer to lecture on fashion from 1752 to 1952 for the exhibition: \"Habiliments for Heroines\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- New York World's Fair, newspaper and magazine clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- His election to VMFA Board, museum business. Dates- 5/51 - 2/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings of Governor Tuck. Dates- 12/49 - 1/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Biographical data, Tunnard's expertise on city planning. Virginia Town Case Study Group: \"Problems of Planning in the Small Southern Town\". Dates- 1952 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Severance of affiliation to the VMFA. Dates- 2/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Artist for VMFA Christmas card. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from F. Brandt and Wm. Gaines. Subject- Seminar to expose students and teachers to the function and operation of VMFA, agenda, program procedure, etc. Dates- 11/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Questionnaire from UCLA Graduate School of Management and the College of Fine Arts on the priorities related to the Arts, pamphlets. \"U.S. Information Agency-Its Task in World Affairs\". Date- 4/51 - 7/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and L. Cheek. Subject- Annual Meeting Minutes, travel authorization, organization news, pamphlets, general UNESCO business. Dates- 10/46 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Conference topic: Aid to South American Museums, project development, UNESCO Annual Report, Report of Program Committee. The Voice of America, Forum Lectures with transcript of by L. Cheek of \"The Art Museum As A Community Center\". Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Requests for loans of slides from South American Museums for L. Cheek's presentation to Denver conference, list of South American Museums. Dates- 1959 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Opening of UDC new building. Resolution concerning accessibility to members of UDC, invitations. Dates- 6/57 - 12/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence, reports, minutes. Expansion of local service. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Charitable organizations that have received UGF monies and fund raising campaign. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- The Air Force Memorial Center: statement of purpose, design, personnel requirements, building program, Minutes of U.S. Air Force Fine Art Committee 6/58 and 12/60, \"Proposal For The USAF Memorial Education Center\", travel vouchers and floor plan for the Academy Museum (Planetarium). Slides. Dates- 2/57-4/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Edward R. Murrow as Director, merging of the People-to People Program (organization of museum professional) with the USIA. Newspaper clippings. Dates- 1961 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Forum Series\": International Broadcast, lecture series. Essay- \"the Art Museum As A Community Center\" by L. Cheek. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- UNESCO Action to safeguard Nubian monuments due to the construction of the Aswan Dam. Roster of Honorary Committee, International Action Committee, United Arab Committee, Executive Board Minutes. Dates- 4/60 - 11/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Virginia State Employees U.S. Savings Bond campaign, handbook for canvassers, meeting agendas and progress reports. Dates- 1973 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Col. H.W. Fitzroy. Subject- Coordinating agency between institutions and other cultural, educational and scientific agencies in Virginia through a lecture series of visiting scholars. Dates- 9/54 - 8/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Bayly Art Museum and the McIntire School of Fine Arts at the University of Virginia. Dates- 1935-43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Lecturers and AIV contributors, loans of objects, fellowships. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and T. Colt. Subject- UVA Museum loan of objects and lecture tours, fellowships. List of prints on loan to VMFA from Catesby estate and list of Lurcat Tapestries. Dates- 8/47 - 12/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Museum business, Artmobile, VMT, requests for loans, contributions and gifts. Reference to photos of ancient Greek sculpture, architecture and landscape views, invitations, pamphlets and postcards. Dates- 10/58 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains the schedules for staff vacations. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence of Hans van Weeren-Griek, curator of Education at the VMFA. Dates- 1940-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Report regarding vandalism and misconduct: soaping of the fountains and damage to shrubs. Dates- 11/58 - 3/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Velz' service as VMFA Head of promotion, civilian and military experience record, newspaper clippings and Melchers Estate. Dates- 1949 - 55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains general correspondence of Velz, Associate Director of VMFA 1958. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Status of tax deduction, recommendations for event, invitations and dance card. Dates- 1964 - 65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 9the Annual Viennese Ball sponsored by the Council: Ball Committee, agenda, decoration, invitations, etc. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- Virginia Art Alliance By-Laws, program and minutes of VAA meeting 1945, Report of the Trustees of Richmond Academy of Arts 1933, correspondence with other members of VAA, etc. Dates- 1933-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- program for annual meeting 1941, blank ballots labeled \"Board of Trustees Ballots\", statement of need for a state Supervisor of Fine Arts Education. Dates- 4/40-2/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- reports of activities of organization members 1942-3, correspondence with organization members-no annual meeting held this year due to World War II, etc. Dates- 3/43-5/43. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcement, agenda and program for annual meeting 1944, correspondence with organization members, election of officers/trustees, etc. Dates- 3/44-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting minutes ('49), listing and certification of delegates to VAA annual convention ('49), listing of the VAA Board of Trustees ('49), etc. Dates- 1948-49.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes from meetings and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence to Miss Helen C. Rose (Virginia Art Alliance President). Subject- correspondence with member organizations, etc. Dates- 3/58-8/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- minutes of Trustees meeting and annual meeting 1959, roster of officers and Trustees, program for annual meeting 1960, etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of Va. Art Alliance). Subject- announcement, replies agenda and program for annual meeting of (1936) the VAA Trustees, listing of organizational members to VAA, certification forms for delegates to the VAA annual convention (1936), etc. Dates- 5/35-5/36. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension VMFA, Secretary of VA. Art Alliance). Subject- announcements, program and report for VAA annual meeting 1937, resolution changing the organization of the VAA (consolidating its function with that of the VMFA), certification of delegates to VAA annual meeting 1937, etc. Dates- 4/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept., Secretary of VA, Art Alliance). Subject- VAA annual meeting announcement and program (1938), certification for delegates to VAA annual convention 1938, correspondence with member organizations about the reorganization of the VAA (consolidating its function with that of the VMFA), etc. Dates- 2/38-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance). Subject- announcements and program for VAA annual meeting 1939, certification of delegates to the VAA annual convention 1939, letter from Gayle to the State Board of Education supporting the appointment of a state supervisor of art, etc. Dates- 3/39-6/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1940, correspondence with member organizations, nomination of trustees, certification of delegates to annual convention 1940, etc. Dates- 3/39-5/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- announcement and program for annual meeting 1941, report of the VAA 1940-1, listing of organization members, By-Laws of VAA 1934, correspondence with trustees, etc. Dates- 3/41-4/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- program for annual meeting 1942, roster of member organizations, reports from member organizations, Annual Report of the VAA 1941-2, listing of VAA lectures in 1941, Museum Bulletin (VMFA) vol.2, no.6, 1942etc. Dates- 3/42-4/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA. Art Alliance). Subject- announcements, program and minutes for annual meeting 1944, reports of member organizations 1944, certification of delegates to annual convention 1944, listing of Board resolutions during war time, roster of member organizations, etc. Dates- 4/44-5/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. T.C. Colt (Secretary of VA Art Alliance). Subject- announcements, program and minutes for annual meeting 1945, roster of trustees and nominating committee, reports of member organizations, certification of delegates to annual convention 1945, etc. Dates- 3/45-2/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945, announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance) Subject- minutes of annual meeting 1945,announcements, program and minutes for annual meeting 1946, correspondence with member organizations, reports of member organizations, certification of delegates to annual convention 1946, Secretary's report to VAA 1946, rosters of member organizations and trustees 1946, final copy of Facilities for Organization Members Comprising the Virginia Art Alliance booklet, correspondence with George Rickey about a panel discussion, etc. Dates- 2/46-7/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- Virginia Art Alliance meeting program ('46 and'47) and minutes ('46), list of members ('47), certification of delegates to annual VAA convention ('47), Reports of art activities around the state, etc. Dates- 1946-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VA. Art Alliance)and M.B. Christison (Curator of Education). Subject- copies of 1947 resolution about art display areas in public buildings, minutes of annual meeting 1947, announcements and program for annual meeting 1948, roster of member organizations 1948, correspondence about securing guest speakers for VAA annual convention 1948, certification of delegates to annual convention 1949, etc. Dates- 7/45-11/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- membership roster ('48), list of trustees ('48), announcement, minutes and attendance to annual meeting ('48), summary of panel discussion about art education in Va. schools, statement of VAA purposes and objectives, etc. Dates- 1948. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- minutes of the Virginia Art Alliance meeting ('47 and'48), Board meeting announcement and attendance, program of annual meeting ('48), list of suggested nominees to the VAA Board ('48), etc. Dates- 1947-8.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard (Secretary of VAA). Subject- annual reports of activities made by VAA members. Dates- 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Annual meeting 1955. Correspondence, resolutions and programs. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence, minutes and agendas. Form letter announcing annual meeting 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Minutes, agenda and correspondence. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcement and minutes of Fall Meeting 1957, correspondence with member organizations, etc. Dates- 11/57-12/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Meeting held at the Museum. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1957, appointments to nominating committee, minutes of the Trustees meeting 1957, roster of organization members, The Annual Review of the Virginia Art Alliance 5/39,etc. Dates- 2/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and tentative reservation list for annual meeting 1958, etc. Dates- 9/58-10/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes for annual meeting 1958, reports of member organizations, Virginia Art Alliance By-Laws, proposed revisions to By-Laws, VAA procedures, appointments to committees and to board, etc. Dates- 1/58-5/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements, program and minutes from annual meeting 1959, member organization reports, roster of VA. Art Alliance officers and trustees, VAA By-Laws, etc. Dates- 5/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison Assistant Director VMFA). Subject- announcement and schedule for annual meeting 1959, blank reservation forms for school artmobile visits, etc. Dates- 10/59. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Assistant Director VMFA). Subject- announcements and program for annual meeting 1960, listing of nominating committee appointments, roster of officers and trustees, listing of delegates to annual meeting, etc. Dates- 3/60-4/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- reports from member organizations, etc. Dates- 1956-7. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- List of organizational members and their attendance, correspondence and form letters. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of trustees and list of members 1951-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of trustees' meeting 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Board of Trustees, 1952-55. Correspondence, minutes. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Trustee correspondence, minutes and members. Dates- 1956. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard Subject- preliminary work for the VAA booklet: \"Facilities for Organization Members Comprising the Virginia Art Alliance\". Dates- 8/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by M.B. Christison (Secretary Virginia Art Alliance). Subject- minutes of Virginia Art Alliance (VAA) annual meeting 1957, proposed revisions to By-Laws, etc. Dates- 8/56-1/60. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- outline of a state art federation, constitutions, by-laws, information on other art federations (i.e.: The American Federation of Art, The Kansas State Federation of Art, The Indiana Federation of Art Clubs, etc.), etc. Dates- 1/34. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Va. Art Alliance procedures and a short history, draft of proposed revisions to VAA By-Laws, Annual Review of the Virginia Art Alliance. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA/ Secretary of the VA Art Alliance). Subject- VAA By-Laws 1934, resolution (1936) to consolidate the functions of the VMFA and VAA, information about the development of a new type of VMFA annual membership- the organization membership, etc. Dates- 1934-10/37. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by H.B. Gayle (Director of Extension Dept. VMFA, Secretary of VA Art Alliance). Subject- listing of Trustees 1934- 39, Trustee meeting announcements, letters accepting election to the VAA Board of Trustees, etc. Dates- 11/34-4/38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA representative on the Virginia Art Commission. Dates- 11/55 - 12/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- selecting and securing jurors for the exhibition \"Virginia Artists 1955\", listing of pieces and artist included in the exhibition, printed material for the exhibition, etc. Dates- 12/54-5/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Jurors: Paul Smith, Rose Slivka and Frank Getlein. Salon des Refuse's, biographical data, exhibition catalog. Dates- 6/66 - 6/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Prospective jurors and exhibition announcement. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Jurors: Thomas Hess. Exhibition statement, reception, guest list, members preview, program agenda, discontinuation of salon des refuse's, installation and exhibition catalog. Dates- 1967, 11/70 - 4/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper and magazine clippings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Correspondence regarding auditor's reports. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Audit Reports 1936-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Auditors Survey and Systems study of the VMFA. 1954. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Wm. Morrison. Subject- Filming of \"California Watercolors\" traveling exhibition with footage of Virginia Beach Sidewalk Show included in the 25th anniversary film. Dates- 1960 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Prospectus for the Virginia Center For the Performing Arts. Statement of purpose: Academy-Conservatoire of Dramatic Art with training center and professional theatre. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding objects and paintings in private collections throughout state of Virginia. Correspondence with artists and owners. 1935-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Statement of mission, NEA grants, proposals, awards, potential applicants, recipients. Collectors' Circle: Arts and Humanities Challenge grants for Conservation projects. Degas exhibition. Dates- 2/74 - 6/78 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- VCU and U of R Drama departments. VMFA/VCU Museum Methods Course. Dates- 1971 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Peter Mooz and J.M. Brown. Subject- Current/future cooperation between VCU and VMFA: theatre, Art Historical studies, education, museum training, music dept.'s, VCU Conservation Lab and Anderson Gallery. Dates- 1/73 - 2/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Paul Smith. Reception, guest list, program, agenda and exhibition catalog. Dates- 3/71 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Juror: Henry Wolf. Event program, invitations, guest list, statistics regarding entrants, certificate winners, etc. Exhibition catalogs for \"Virginia Designers\", 1970 and 1971; \"Virginia Photographers\", 1970 Date- 1970 - 71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regarding state budget 1946-52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VEA Centennial Event and retired teachers complex, theatre program and Executive Committee Minutes, 12/61. Dates- 10/63 - 10/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Retired teachers apartment complex proposed for the 2900 block of Grove Ave., later rejected by the City Council, newspaper clippings. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Exhibition: \"American Rooms in Miniature\", sponsored by Va. Federation of Women's Clubs, sponsorship of statewide tour of Artmobile, newspaper clippings and pamphlets, \"Virginia Journal of Education\", 10/63, catalog of \"American Rooms in Miniature\" by Mrs. J.W. Thorne, Art Institute of Chicago, 1941. Dates- 6/53 - 2/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Virginia Federation of Women's Clubs Statewide Arts Festival. Dates- 5/67 - 3/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Thank you notes from newly elected/reelected members of the House of Delegates. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. John. S. Battle. Dates- 1949-54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. Colgate W. Darden. Dates- 1942-45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. George C. Peery. Dates- 1935-38. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Bills vetoed and passed by Gov. Thomas B. Stanley [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Gov. William M. Tuck. Dates-1946-50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Multi-level Arts Festival held annually in Abingdon, Va., loans of art works, consultation on programming and pamphlets. Dates- 11/52 - 10/56 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, F. Numan (Wm. and Mary) Subject- Meeting to focus on Architecture and the Humanities. Dates- 11/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Catalog from Franklin Mint series of silver commemorative medals. Norton Simon summary of Annual report, 1970. Dates- 1970 -71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Mrs. J.G. Pollard was chairman of this agency; copies of: Fundamentals of a Growing Recreation Program by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Agendas and minutes of meetings.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Concerns a Governor's commission to study juvenile delinquency and the Virginia Advisory Legislative Council. 1954-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report to the Committee on \"Recreation as a Function of Government in Virginia.\"   [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- copies of the executive order creating the Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- planning a listing of recreation films available through state agencies and 16mm Recreation Films Available in Virginia published by the VA Inter-Agency Committee on Recreation, etc. Dates- 6/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- working papers and final copies of the \"1st Report to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 10/53-1/54; Correspondence Subject- copies of the \"First Report to the Governor by the Inter-Agency Committee on Recreation\". [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Selected legislation on recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- membership rosters for the VA Inter-Agency Committee on Recreation. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- statewide recreation reports listing facilities, budgets, organizations and needs, pamphlets from the National Recreation Association, etc. Dates- 7/53-9/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Sponsored by the National Recreation Association 1955-56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains a listing of personnel and the purpose of the committee.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Newspaper clippings and pamphlets.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Pamphlets, magazine articles etc. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Copies of \"Fundamentals of a Growing Recreation Program\" by James E. Rogers. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- working papers for and final copies of the \"1st and 2nd Reports to the Governor by the Virginia Inter-Agency Committee on Recreation\". Dates- 11/55-1/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Sarah Tomerlin Lee, Biographical data, event program, pamphlets and catalog for exhibition. Dates- 9/70 - 3/71 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Museum events, rosters: Senate, House of Delegates. Letter to members of the general assembly. Essay- \"The Virginia Museum and the Arts in Virginia\". Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Reception for organization composed of Mayors, City Managers and City Officials. Dates- 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Faye Ambrose and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year. Dates- 5/56-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Charles E. Baker and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications and award letters (1950, 1951) for VMFA in-state fellowship, artist progress reports for 2 years, etc. Dates- 5/50-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Regina Bartley and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 4/51-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Wm. Thomas Bland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA fellowship, thank you notes made by Mr. Bland (mixed media including watercolors). Dates- 8/48-2/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Robert Brushwood and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations, award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Kuhn R. Caldwell and Mrs. J.G. Pollard, M.B. Christison (Assistant Director), and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, artist progress reports for 1 year . Dates- 12/55-5/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mary Frances Cheatham and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA junior fellowship, artist progress reports for 1 year. Dates- 1/49-3/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Janet Clausen and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Robert L. Davis and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA in-state fellowship, photos of artist's work, artist progress reports for 1 year, etc. Dates- 4/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Worden Day and Mrs. J.G. Pollard, M.B. Christison and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA fellowship, etc. Dates-4/49-8/50. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. T.V. Downing, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 10/49-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Charles Flynn, Jr. and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year. Dates- 4/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 2/54-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Jenny-Lynn Franklin and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- award letter for VMFA in-state fellowship, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Barbara Harding and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications ('53 and '54), recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/53-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Catherine M. Hipp and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Jem W. Hom and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for a VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 4/56-7/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between W.B. Houghland and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Caroline C. Huff and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-6/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. William W. Jackson and Mrs. J.G. Pollard and L. Cheek Jr. Subject- applications (1948,1949), recommendations and award letter for VMFA fellowship, etc. Dates- 5/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Knapp and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/53-8/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. James Leedy and Mrs. J.G. Pollard and M.B. Christison (Assistant Director). Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1 year, etc. Dates- 5/57-6/58. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Brenda R. MacBaisey and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year (includes lithography proofs), etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. James P. Moyers and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Joe Ravenscroft and Mrs. J.G. Pollard. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress reports for 1 year, etc. Dates- 5/52-5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, application and recommendations for VMFA fellowship, etc. Dates- 8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Marnye Reinhart and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- biographical information, recommendations for VMFA fellowship, etc. Dates-8/48-10/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between M.F. Russell and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for out-of-state fellowship, artist progress report for 1 year, etc. Dates- 4/55-7/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between R.E. Spain and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, artist progress reports for 1 year, etc. Dates- 5/55-6/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Ms. Mary R. Tatum and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress reports for 1year, etc. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Primm Turner and Mrs. J.G. Pollard, M.B. Christison (Assistant Director) and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA out-of-state fellowship, artist progress report for 1 year, application for Catherwood Foundation fellowship, etc. Dates- 3/56-9/57. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. E. Parker Twombly and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA out-of-state fellowship, recommendation letters written by: Ben Shahn and Robert Motherwell, artist progress report for 1 year, etc. Dates- 5/53. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application and recommendations for VMFA student fellowship, artist progress reports for 1 year. Dates- 5/51-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Benjamin Wigfall and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA student fellowship, artist progress report for 1 year, etc. Dates- 6/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Howard Woody and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for student fellowship, etc. Dates- 4/54-6/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mr. Peter Wreden and Mrs. J.G. Pollard and L. Cheek, Jr. Subject- application, recommendations and award letter for VMFA in-state fellowship, etc. Dates- 4/53-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- listing of fellowship applicants, requests for applications, rejection letters, etc. Dates- 3/49-6/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject- applications, recommendations and rejection letters for those applicants not chosen to receive fellowships. Dates- 3/52-5/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., L. Cheek, Jr. and Mrs. J.G. Pollard. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship, fellowship announcement, minutes of the fellowship committee meeting (1954), etc. Dates- 12/40-5/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard. Subject- listing of applicants 1942-44, listing of types of fellowships offered by the Museum, etc. Dates- 1942-11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- various applications, recommendations, rejection letters, etc. Dates- 5/46-6/46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- announcements of fellowships, blank fellowship applications, requests for applications, various completed applications, award and rejection letters for fellowships, artist reply letters, etc. Dates-4/46-12/47. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. and Mrs. J.G. Pollard. Subject- various applications, recommendations, fellowship recipient progress reports, award and rejection letters, correspondence with Fellowship committee, etc. Dates- 4/47-9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by Mrs. J.G. Pollard and L. Cheek, Jr. Subject-the organization of the Fellowship committee, requests for fellowship applications, etc. Dates- 9/48. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. John L. Pratt. Subject- gift of GM stock, the proceeds to be used for the proposed VMFA fellowship program, minutes of: annual board meeting (1941), executive committee meeting (1940), VA artists fellowship committee meeting (1940), announcement/application for VMFA fellowship, etc. Dates- 6/40-4/56. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- General correspondence about the Museum. Dates- 1939-46. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Exhibition- \"The Virginia Museum of Fine Arts in Roanoke\", 1948.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Essays by Director Thomas Colt on the Principles and Work of the Virginia Museum of Fine arts and its history.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Timetable, agenda, invitation, guest list. Dates- 1972 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and F. Brandt. Subject- Juror: Henry Callahan, biographical data, entry form, letters to selected applicants, statistics: entrants vs. applicants etc., and jury procedure. Dates- 4/71-2/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Fellowships, VPI Traveling Theatre. Letter to Josef Albers with biographical data, invitations and exhibitions. Dates- 3/59 - 10/69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Contains pamphlets and correspondence between this association and Mrs. Pollard's Inter-agency committee on recreation 1949-54; Reports and Inventories of recreational activities of state agencies. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- VMFA budget, state issue vehicles, Artmobile, salaries, Robinson House, etc. Dates- 1960 - 69 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown. Subject- Complimentary memberships to members of the house of delegates, travel regulations, United Givers Fund campaign, management studies. Dates- 1970 - 72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VSAA membership rosters, membership of confidential secretaries to directors of state agencies. Dates- 9/63 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- Memos to heads of state agencies regarding all manner of state operations, capital outlays. Annual Report of \"Virginia Department of Vocational Rehabilitation\", 1976. Dates- 1/73 - 10/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- Affirmative Action and Freedom of Information Act requests. \"Virginia Local and Regional Planning 1974\"; \"Virginia Commission Visually Handicapped Annual Report\", 1973-74; \"Virginia Highway Commission Annual Report\", 1973-74. Dates- 11/74 - 12/76 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from the Office of the Governor. Subject- State governmental management, budget appropriation requests, Virginia calendar of events, newsletters, museum salaries and the Virginia Privacy Act of 1976. Dates- 4/75 - 4/77 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Regards donating old exhibition materials 1950-51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt. Subject- Roster of VMFA Trustees, resume of progress in the Fine Arts of Virginia. Dates- 1946 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and E.M. Kates (VSIF). Subject- Planting of flower beds and maintenance of interior foliage, Elizabeth Kates Foundation. Dates- 8/56 - 4/67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Cleaning and treatment reports of portraits owned by the Virginia State Library and Archives. Also correspondence regarding the wartime protection of Virginia's cultural materials, 1935-42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- outline of annual meeting. Dates- 11/49. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- \"Planning Your Town\" traveling exhibition, photos and description of exhibition installation, copy of an essay written by Cheek for Art Digest (4/52) Dates- 2/52-10/56.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by L. Cheek, Jr. Subject- VA Union choir singing at the Museum during the Christmas season, pamphlets about Museum sponsored activities during the holidays, etc. Dates- 9/55. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Statewide competition for the design of Memorial and jury selection. L. Cheek's service as advisor to the Memorial Commission. T.J. Collins and Son as winners of competition. \"Program Of Competition For The Virginia World War II Memorial\". Dates- 12/50 - 3/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Program Of Competition For The Virginia World War II Memorial\", firms invited to compete in the final selection, expenses incurred and resumes of applicants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, John J. Wicker Jr. (Chairman). Subject- Competition program, VWW II Memorial Commission meeting minutes, \"Preamble\", for the creation of the memorial, \"Architectural Competitions\", AIA Document no.213. Drawings/plans and photographs for site development. Dates- 5/50 - 12/51 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- 1953 Official Report of the Virginia World War II Memorial Commission. Dates- 1953. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Competition program and closing proceedings. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Applications from selected entrants, official report of the jury in their selection of J.T. Collins and Son, (A.I.A.). Dates- 3/51 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Report of the Jury concerning the winning design. Jury members: Waldon Franklin, George Howe, Frederick C. Disque, Edward D. Stone, W. S. Robertson, biographical data included and list of competition entrants. Dates- 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Guest lecturers, membership. Dates- 12/63 - 8/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and Mrs. von Keller. Subject- appointment of von Keller as Acting Director of VMFA in absence of Colt, biographical information, etc. Dates- 4/35-6/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. von Keller (Art Director, Randolph-Macon Woman's College). Subject- personal, Museum events, etc. Dates- 8/42-3/51. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Morton Vose. Subject- Acquisitions and provenance of objects. Dates- 7/56 - 2/65 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Mrs. J.G. Pollard, T. Colt. Priscilla Crum and L. Cheek. Subject- Segregation in children's art classes, Study of early 19th century architect and builder John Jordan. WRVA Radio weekly series of VMFA activities, Salon des Refuses' for artists eliminated from the Virginia Artists juried exhibition. World War II Memorial design competition, Artmobile, newspaper clippings, paintings from the Williams Collection and the Helena Woolworth McCann Collection of Export Collection. Exhibition catalog: \"Eugene Wiesz\". Photographs. Dates- 9/45 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and M. Christison. Subject- Artmobile, AIV, sit-see chairs, collectors circle, Fellows, Wise Pre-Columbian Collection, requests for employment. Woodrow Wilson Birthplace Foundation: Annual Report 10/64. Gifts, loans, contributions and acquisitions. Dates- 3/60 -11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from J.M. Brown and P. Near. Subject- Exhibition announcements, invitations, newsletters, biographical data, requests for employment. Purchases, gifts and acquisitions. Damage report of art works. \"Profile\", re: Tishman Collection of African Objects. \"Hermes Wingraf Quarterly Catalog\", Summer 1971, re: 17th century Dutch still-lifes. Dates- 2/70 - 3/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Waddy bequest for fountain construction. Costs of construction and maintenance of fountains: National Gallery, Frick Collection and Isabella Stewart Gardner Museum, includes photographs. Blueprints/plans: VMFA Site Development, East Elevations. Excerpt from the will of Woodson P. Waddy. Dates- 1947, 1951 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Bronze Waddy Memorial Fountains, architects: Eggers and Higgins, Sculptor: Ralph Menconi. Contractual agreement with architects, Blueprints/ plans, detail drawings for : Waddy Memorial Fountain, Triton Fountain, East elevation and site development plans. Dates- 8/53 - 11/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt and Mr. Clifford L. Walker. Subject- inscribed plates for paintings in Museum collection, bronze busts and tablets for founders. Dates- 11/35-8/41. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Walpole Society Dinner, membership roster and newspaper clippings. Dates- 1966 - 67 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- VMFA staff orders for conduct of Museum during an emergency, pamphlets from the U.S. Government, Association of Art Museum Directors and American and British museums about art preservation in case of a wartime emergency. Dates- 1/42. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Warburg Collection on loan to VMFA and his address to collector's circle. Bulletin vol.18 no.9 5/58 Dates- 5/57 - 10/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT scenery design. Dates- 1968 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- pamphlets from the U.S. Government, Association of Art Directors and American and British museums about art preservation in case of a wartime emergency. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- prospective sale of George Washington portrait by Peale to the state of Virginia, history of the painting, may have been commissioned by the state in 1784 for use by Houdin (the sculptor of the George Washington statue in the capital). Dates- 10/37-6/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Marion Junkin. Subject- Metropolitan Collection on permanent loan to W\u0026L, letter from M. Junkin espousing the talents/commitments of the young artist Cy Twombly. Hans Gasman as restorer for VMFA lists of objects and exhibitions. Dates- 11/49 - 12/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., Mrs. J.G. Pollard and Mr. Alexander W. Weddell. Subject- Weddell's presidency of the VMFA Board of Trustees, Museum events and daily operations, Museum investments and gifts to the Museum, gifts from Weddell, listing of Trustees 1942, listing of Trustees committee assignments 1945. Dates- 9/35-6/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from T. Colt and Mrs. J.G. Pollard. Subject- Founding member of VMFA, resolution from Executive Board in memoriam of Alexander Wilbourne and Virginia Chase Weddell. Award of the Webster S. Rhoads Medal for distinguished service. Minutes of Annual Meeting, descent and authenticity of a pair of copies of portraits of George Mason and his wife. Dates- 7/45 - 1/48 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and J.M. Brown. Subject- Foundation financial support: VMT, library, contributions to Fellows fund, book purchases, VMFA services catalog. Dates- 7/66 - 12/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Director of Gallery of Modern Art, NYC, and his service as a juror. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- \"Time\" article on George Catlin, artist of the American West. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and P. Mellon. Subject- Ultimate destination of Mellon English Collection. Dates- 1966 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Tour request. Dates- 9/70 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek to Mrs. J. H. Parsons. Subject- Wheelchairs adapted for sit-see chairs and underwritten by Mrs. Parsons. Dates- 10/65 - 3/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Lecture/recital to VMFA council and Fellows. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Invitation to L. Cheek by President Johnson to attend luncheon for President-elect Barrentos of Bolivia. Dates- 7/20/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Objects on loan to White House. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Theo B. White. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Diorama's made by Whitelaw in the collection of the L.A. County Museum and George Washington Masonic National Memorial Association. Photographs Dates- 7/62 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- general correspondence with a Trustee on Museum programs and operating activities (esp. Accessions Committee). Dates- 6/35-3/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from Beatrice von Keller, T. Colt and L. Cheek. Subject- Organization of an exhibition of pre-Columbian sculpture, Catesby-Jones collection, Whitman Collection of Mayan Sculpture, Chrysler Collection accessions and exhibitions. Date- 8/45 - 5/53 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mrs. Thelma Cudlipp Whitman. Subject- Trustee/Museum business, etc. Dates- 5/51-2/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Ambassador to Great Britain, invitation to become Collector-of-the- Year. Dates- 5/61 - 7/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr. and various Whitney Museum staff. Subject- loans to the Museum for the inaugural exhibition, loan to the Whitney from VMFA, museum practices, etc. Dates- 5/35-4/44. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Summer state service projects, VMFA projects list. Dates- 7/55 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Playwright, invitation to address VMT, Time Cover 11/12/53. Dates- 1/53 - 3/62 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA appointment to Board of Trustees, service as President and on the Entertainment Committee. Museum business, South Wing, Fellows, NEFTA. Gift of Mellon French painting collection, gifts, contributions. Dates- 6/65 - 10/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Exhibitions: \"Jean Outland Chrysler Collection\" and \"30 Years of Virginia Art\". List of objects, Charter Day ceremonies: invitation list and dedication of the new Fine Arts building. Essays- \"Thomas Jefferson and the Fine Arts\" and \"The Arts in Virginia\", by L. Cheek 2/67. Dates- 1967 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMT and loans of objects to VMFA. Dates- 1/50 - 12/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek and Mrs. J.G. Pollard. Subject- Williams Collection inventory, Williams purchase fund, statement concerning the informal agreement between L. Cheek and Mrs. A. D. Williams concerning installation of collection in the new wing. Selected inventory of furnishings in the Williams home. A.D. Williams as recipient of the Rhoads Medal, financial contributions, gifts and loans. Dates- 6/48 - 2/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence with Berkley Williams Jr., Virginia artist. Dates- 1936-44.  [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between T.C. Colt, Jr., and Mr. E. Rand Williams. Subject- Trustee/Museum business, Rand served as Buildings and Grounds Committee Chairman 1937-8 and as first Vice-President in 1941, etc. Dates- 6/35-6/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence between Mrs. J.G. Pollard and Mr. E. Randolph Williams. Subject- Trustee/ Museum business, etc. Dates- 5/51-4/52. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Glasglow bequest, Melchers Estate, Pratt Jewels, Portrait of \"James Patton Preston\", Gilbert Stuart, general legal questions. Dates- 10/58 - 7/63 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Election to board of Trustees; Dance Society. Dates- 6/54 - 5/64 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Advisory committee on the new Reception Center, L. Cheek as a member and a map with the proposed location. \"Summary of Reception Center Objectives and Experience\". Dates- 11/53-1/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- List of objects accepted as loans and pending gift status. Dates- 10/49 - 3/50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Preliminary plans for a foundation to house objects related to W. Wilson's life. Portrait exhibition of the 8 Virginia born Presidents, portrait of Mrs. Wilson, artist unknown. \"Woodrow Wilson's Heritage of Faith\", Frank Bell Lewis, Woodrow Wilson Birthplace Foundation, 1956. Dates- 9/55 - 6/59 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Letters of request and approval for event, agendas and timetable. Dates- 1965 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Letter of confirmation. Dates- 7/11 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Subject- Woodlawn Plantation event, guest list and map. Dates- 1971 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. to Worcester Art Museum staff. Subject- loans for VMFA inaugural exhibition, loan to Worcester Art Museum, etc. Dates-8/35-7/40. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- exhibition held at the Museum \"Southern States Preview\" a regional exhibition connected to the World's Fair. Dates-10/38-12/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by applicants to exhibition. Subject- listings of artists accepted to the show (listed state by state). Dates- 12/38-1/39. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Arthur Drexler (MOMA) to lecture on Wright exhibition, reception, guest list. Dates- 1962 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Transcript of radio broadcast 2/26/54, exhibition: \"American Painting\", Artmobile and magazine excerpt. Dates- 1954 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Betsy Wyeth and Harry Brooks (Knoedlers). Subject- \"Country\": Working drawings, Artmobile layout and tour and reviews. Dates- 2/67 - 11/68 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, J.M. Brown and P. Near. Subject- Exhibitions, loans, acquisitions, AIV, gifts, contributions. Correspondence with William Zorach, sculptor. Dates- 9/49 - 9/72 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence by T.C. Colt, Jr. Subject- museum practices, loans for the VMFA inaugural exhibition, etc. Dates-9/35-3/45. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- General correspondence from Alumni, possible lecturers, newspaper clippings. Correspondence between Cheek and Alfred Stiegletz. Minutes of Alumni and Friends of the School of Art and Architecture, 5/58, pamphlets. Dates- 6/58 - 4/66 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Third Report Of The Committee On Architecture, Painting and Sculpture\", 4/50. Committee membership roster, issues facing various Yale departments. \"Bulletin Of Yale University\", series 44, 4/48 #5 and \"Official Register Of Harvard University\", vol. XLV, no.15 7/15/48. Dates- 1949 - 50 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek, Mrs. Pollard and M. Christison. Subject- Yale school of the arts general operation, appointment of Joseph Albers, list of University Council Committees. Dates- 9/48 - 9/54 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Draft of the committee report and responses from other Yale committee members regarding departmental personnel, curriculum, problems and resolutions. \"Report Of The Committee Of The Division Of The Arts (Architecture and Planning And Design)\",prepared by L. Cheek, 4/54. [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- \"Report Of The Chairman Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 4/48, prepared by L. Cheek. Issues concerning Yale departments of the arts. Minutes of Yale Executive Committee Meetings, various reports on Yale departments. Dates- 1949 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Cheek draft of, \"Report Of The Committee On The Division Of The Arts (Architecture, Sculpture and Painting)\", 1952. Yale policy review, new appointments, letters to other committee members, roster of membership. Dates- 5/51 - 4/52 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- Evolving challenges of the various Yale departments. \"Report Of The Committee On The Division Of The Arts (Architecture, Planning and Design)\", 4/53. Dates- 1953 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","Correspondence from L. Cheek. Subject- VMFA performance of Yale Glee Club, agenda, program, roster, etc. Dates- 10/60 - 1/60 [These notes were taken by VMFA staff in the 1990s before the collection was processed by LVA staff in the 2000s, so the contents of the file may no longer match this description.]","R. Peter Mooz was Director of the museum from 1976-1981.","Charles L. Reed was Interim Director of the museum from 1981-1984.","Paul N. Perrot was Director of the museum from 1984-1991.","Katherine R. Lee was Director of the museum from 1991-2000.","Richard B. Woodward was Interim Director of the museum in 2000.","Michael Brand was Director of the museum from 2000-2005.","Thomas N. Allen was Interim Director of the museum in 2006.","This series contains correspondence and subject files from staff members in the Director's Office.","Carolyn Weekley was the Assistant to the Director from 1978-1979. She later became Curator of Decorative Arts, so there is some overlap in the files with her curatorial work.","Margaret (Peggy) Burke was Assistant to the Director from 1980-1981, then Deputy Director in 1982, Deputy Director. She originally served as Assistant Director for Collections and Interpretation, so there is some overlap in the files with her other work.","Lulan Yu was Assistant to the Director from 2002-2007. Her files are mostly related to the North Wing expansion and the museum identity project.","Lee Anne Hurt Chesterfield was Assistant to the Director from 2004-2009, then became Director of Board Relations and Museum Planning. Her files are mostly related to special projects, exhibitions, and AAM reaccreditation.","This series consists of building files that were maintained separately in the Director's Office. There are often additional building files found in each Director's Correspondence files.","The West Wing was completed in 1985.","The North Wing expansion was completed in 2010.","This series consists of corespondence with internal and external groups, the affiliations or creations of which often often overlap different Directors.","This series consists of minutes and planning documents for meetings convened by the Director.","This series consists of program files that were maintained separately in the Director's Office. There are often additional program and exhibition files found in each Director's Correspondence files."],"separatedmaterial_html_tesm":["\u003cp\u003eMedal awarded to Walter Spencer Robertson housed separately.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Medal awarded to Walter Spencer Robertson housed separately."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"names_ssim":["Virginia Museum of Fine Arts Archives"],"corpname_ssim":["Virginia Museum of Fine Arts Archives"],"language_ssim":["English \n.    "],"total_component_count_is":7183,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:29:10.278Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_44_c01_c01_c1917"}},{"id":"virmu_repositories_2_resources_13","type":"collection","attributes":{"title":"Leslie Cheek, Jr. Personal Papers (SC-02)","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_13#creator","type":"document_value","attributes":{"value":"Cheek, Leslie, 1908-","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_13#abstract_or_scope","type":"document_value","attributes":{"value":"This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_13#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_13","ead_ssi":"virmu_repositories_2_resources_13","_root_":"virmu_repositories_2_resources_13","_nest_parent_":"virmu_repositories_2_resources_13","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_13.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/13","title_filing_ssi":"Cheek, Leslie Jr. (SC-02)","title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"unitdate_ssm":["1931-1993"],"unitdate_inclusive_ssm":["1931-1993"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-02","/repositories/2/resources/13"],"text":["SC-02","/repositories/2/resources/13","Leslie Cheek, Jr. Personal Papers (SC-02)","The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.","The collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1 Skylark Farm, 1966-1992 Series 2 \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989 Series 3 \"Designing for the Arts,\" 1984-1991 Series 4 Personal Files, 1934-1992 Series 5 Awards and Degrees, 1931-1993 Series 6 Trips, 1952-1980","Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067) ","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History","Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage. ","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII. ","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts. ","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977. ","Source:  The Dictionary of Art Historians","Source: Virginia Commonwealth University's  Guide to the Mary Tyler Freeman Cheek McClenahan Papers","This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.","Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.","The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.","This series is comprised of correspondence, plans, and photographs related to Skylark Farm, a house and tree farm located in the Blue Ridge Mountains of Virginia, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. The Cheeks were also involved in the transformation of the house into a conference center for the University in the 1990s.","This series is comprised of correspondence, interviews, and exhibition details related to the 1985 publication of \"Living by Design: Leslie Cheek and the Arts,\" which was written by Parke Rouse, Jr. and researched by K. Richmond Temple. The photobiography was released at the same time that a corresponding exhibition entitled \"Cheek and the Arts\" opened at the Muscarelle Museum of Art in December 1985.","This series is comprised of correspondence, drafts, and financial details related to the 1990 publication of \"Designing for the Arts: Environments by Leslie Cheek,\" which was written by K. Richmond Temple. It was designed as a photo essay, and served as volume two to the previously published \"Living by Design\" in 1985.","This series is mainly comprised of correspondence related to a myriad of activities and projects that Cheek took on throughout his career and during his retirement. There is a considerable amount of material created during his tenure as Director of the VMFA. This series also contains oversized materials, including many drawings done by Cheek while in school in the 1930s and after, as well as photographs, mounted clippings, and some bound volumes and drawings.","This series is comprised of correspondence about and the actual awards and degrees conferred upon Cheek throughout his life.","This series is comprised of correspondence, itineraries, and programs detailing the Cheeks' personal travels around the world.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.","Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","English \n.    "],"unitid_tesim":["SC-02","/repositories/2/resources/13"],"normalized_title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"collection_title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"collection_ssim":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"creator_corpname_ssim":["Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creators_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"extent_tesim":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"date_range_isim":[1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSkylark Farm, 1966-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003e\"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003e\"Designing for the Arts,\" 1984-1991\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePersonal Files, 1934-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eAwards and Degrees, 1931-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eTrips, 1952-1980\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1 Skylark Farm, 1966-1992 Series 2 \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989 Series 3 \"Designing for the Arts,\" 1984-1991 Series 4 Personal Files, 1934-1992 Series 5 Awards and Degrees, 1931-1993 Series 6 Trips, 1952-1980"],"bibliography_html_tesm":["\u003cbibref\u003eTen Talents in the American Theatre, 1957\u003c/bibref\u003e","\u003cbibref\u003eLiving by Design: Leslie Cheek and the Arts, 1985\u003c/bibref\u003e","\u003cbibref\u003eDesigning for the Arts: Environments by Leslie Cheek, 1990\u003c/bibref\u003e","\u003cbibref\u003eSouthern Civility: Recollections of my Early Life, 2003\u003c/bibref\u003e","\u003cbibref\u003eDrawings for the Stage by Leslie Cheek, Jr., 1987\u003c/bibref\u003e","\u003cbibref\u003eVMFA Directors: Leslie Cheek Jr. (4 folders)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067) \u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e","\u003cbibref\u003eArchives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview\u003c/bibref\u003e","\u003cbibref\u003eCollege of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)\u003c/bibref\u003e","\u003cbibref\u003eMuseum of Modern Art, New York City, NY: For Us the Living Exhibition\u003c/bibref\u003e","\u003cbibref\u003eQueens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition File","Related Materials - VMFA Library: Subject File","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067) ","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History"],"bioghist_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage. \u003c/p\u003e\n","\u003cp\u003eBorn in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII. \u003c/p\u003e\n","\u003cp\u003eAfter the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts. \u003c/p\u003e\n","\u003cp\u003eAfter retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977. \u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://arthistorians.info/cheekl\"\u003eThe Dictionary of Art Historians\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003eSource: Virginia Commonwealth University's \u003ca href=\"http://search.vaheritage.org/vivaxtf/view?docId=vcu-cab/vircu00021.xml/\"\u003eGuide to the Mary Tyler Freeman Cheek McClenahan Papers\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage. ","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII. ","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts. ","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977. ","Source:  The Dictionary of Art Historians","Source: Virginia Commonwealth University's  Guide to the Mary Tyler Freeman Cheek McClenahan Papers"],"custodhist_html_tesm":["\u003cp\u003eThis collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005."],"prefercite_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eProcessing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, plans, and photographs related to Skylark Farm, a house and tree farm located in the Blue Ridge Mountains of Virginia, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. The Cheeks were also involved in the transformation of the house into a conference center for the University in the 1990s.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, interviews, and exhibition details related to the 1985 publication of \"Living by Design: Leslie Cheek and the Arts,\" which was written by Parke Rouse, Jr. and researched by K. Richmond Temple. The photobiography was released at the same time that a corresponding exhibition entitled \"Cheek and the Arts\" opened at the Muscarelle Museum of Art in December 1985.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, drafts, and financial details related to the 1990 publication of \"Designing for the Arts: Environments by Leslie Cheek,\" which was written by K. Richmond Temple. It was designed as a photo essay, and served as volume two to the previously published \"Living by Design\" in 1985.\u003c/p\u003e","\u003cp\u003eThis series is mainly comprised of correspondence related to a myriad of activities and projects that Cheek took on throughout his career and during his retirement. There is a considerable amount of material created during his tenure as Director of the VMFA. This series also contains oversized materials, including many drawings done by Cheek while in school in the 1930s and after, as well as photographs, mounted clippings, and some bound volumes and drawings.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence about and the actual awards and degrees conferred upon Cheek throughout his life.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, itineraries, and programs detailing the Cheeks' personal travels around the world.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note","Series Description","Series Description","Series Description","Series Description","Series Description","Series Description"],"scopecontent_tesim":["The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.","This series is comprised of correspondence, plans, and photographs related to Skylark Farm, a house and tree farm located in the Blue Ridge Mountains of Virginia, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. The Cheeks were also involved in the transformation of the house into a conference center for the University in the 1990s.","This series is comprised of correspondence, interviews, and exhibition details related to the 1985 publication of \"Living by Design: Leslie Cheek and the Arts,\" which was written by Parke Rouse, Jr. and researched by K. Richmond Temple. The photobiography was released at the same time that a corresponding exhibition entitled \"Cheek and the Arts\" opened at the Muscarelle Museum of Art in December 1985.","This series is comprised of correspondence, drafts, and financial details related to the 1990 publication of \"Designing for the Arts: Environments by Leslie Cheek,\" which was written by K. Richmond Temple. It was designed as a photo essay, and served as volume two to the previously published \"Living by Design\" in 1985.","This series is mainly comprised of correspondence related to a myriad of activities and projects that Cheek took on throughout his career and during his retirement. There is a considerable amount of material created during his tenure as Director of the VMFA. This series also contains oversized materials, including many drawings done by Cheek while in school in the 1930s and after, as well as photographs, mounted clippings, and some bound volumes and drawings.","This series is comprised of correspondence about and the actual awards and degrees conferred upon Cheek throughout his life.","This series is comprised of correspondence, itineraries, and programs detailing the Cheeks' personal travels around the world."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1c02dc40e094a70e20450781f6a750e4\"\u003eThis collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.\u003c/abstract\u003e"],"abstract_tesim":["This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s."],"names_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"language_ssim":["English \n.    "],"total_component_count_is":648,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:35:59.708Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_13","ead_ssi":"virmu_repositories_2_resources_13","_root_":"virmu_repositories_2_resources_13","_nest_parent_":"virmu_repositories_2_resources_13","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_13.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/13","title_filing_ssi":"Cheek, Leslie Jr. (SC-02)","title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"unitdate_ssm":["1931-1993"],"unitdate_inclusive_ssm":["1931-1993"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-02","/repositories/2/resources/13"],"text":["SC-02","/repositories/2/resources/13","Leslie Cheek, Jr. Personal Papers (SC-02)","The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.","The collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1 Skylark Farm, 1966-1992 Series 2 \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989 Series 3 \"Designing for the Arts,\" 1984-1991 Series 4 Personal Files, 1934-1992 Series 5 Awards and Degrees, 1931-1993 Series 6 Trips, 1952-1980","Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067) ","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History","Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage. ","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII. ","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts. ","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977. ","Source:  The Dictionary of Art Historians","Source: Virginia Commonwealth University's  Guide to the Mary Tyler Freeman Cheek McClenahan Papers","This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.","Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.","The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.","This series is comprised of correspondence, plans, and photographs related to Skylark Farm, a house and tree farm located in the Blue Ridge Mountains of Virginia, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. The Cheeks were also involved in the transformation of the house into a conference center for the University in the 1990s.","This series is comprised of correspondence, interviews, and exhibition details related to the 1985 publication of \"Living by Design: Leslie Cheek and the Arts,\" which was written by Parke Rouse, Jr. and researched by K. Richmond Temple. The photobiography was released at the same time that a corresponding exhibition entitled \"Cheek and the Arts\" opened at the Muscarelle Museum of Art in December 1985.","This series is comprised of correspondence, drafts, and financial details related to the 1990 publication of \"Designing for the Arts: Environments by Leslie Cheek,\" which was written by K. Richmond Temple. It was designed as a photo essay, and served as volume two to the previously published \"Living by Design\" in 1985.","This series is mainly comprised of correspondence related to a myriad of activities and projects that Cheek took on throughout his career and during his retirement. There is a considerable amount of material created during his tenure as Director of the VMFA. This series also contains oversized materials, including many drawings done by Cheek while in school in the 1930s and after, as well as photographs, mounted clippings, and some bound volumes and drawings.","This series is comprised of correspondence about and the actual awards and degrees conferred upon Cheek throughout his life.","This series is comprised of correspondence, itineraries, and programs detailing the Cheeks' personal travels around the world.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.","Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","English \n.    "],"unitid_tesim":["SC-02","/repositories/2/resources/13"],"normalized_title_ssm":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"collection_title_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"collection_ssim":["Leslie Cheek, Jr. Personal Papers (SC-02)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creator_persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"creator_corpname_ssim":["Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"creators_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"extent_tesim":["19.4 Linear Feet 16 boxes; 596 folders and 48 oversized items"],"date_range_isim":[1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research. A limited number of files are restricted. Access to restricted materials may require written permission of the donor and/or the VMFA Director."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSkylark Farm, 1966-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003e\"Living by Design\" and \"Cheek and the Arts,\" 1945-1989\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003e\"Designing for the Arts,\" 1984-1991\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003ePersonal Files, 1934-1992\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eAwards and Degrees, 1931-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eTrips, 1952-1980\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series, folders are arranged in the original order maintained by Cheek, and retain their original folder titles when provided.","Series 1 Skylark Farm, 1966-1992 Series 2 \"Living by Design\" and \"Cheek and the Arts,\" 1945-1989 Series 3 \"Designing for the Arts,\" 1984-1991 Series 4 Personal Files, 1934-1992 Series 5 Awards and Degrees, 1931-1993 Series 6 Trips, 1952-1980"],"bibliography_html_tesm":["\u003cbibref\u003eTen Talents in the American Theatre, 1957\u003c/bibref\u003e","\u003cbibref\u003eLiving by Design: Leslie Cheek and the Arts, 1985\u003c/bibref\u003e","\u003cbibref\u003eDesigning for the Arts: Environments by Leslie Cheek, 1990\u003c/bibref\u003e","\u003cbibref\u003eSouthern Civility: Recollections of my Early Life, 2003\u003c/bibref\u003e","\u003cbibref\u003eDrawings for the Stage by Leslie Cheek, Jr., 1987\u003c/bibref\u003e","\u003cbibref\u003eVMFA Directors: Leslie Cheek Jr. (4 folders)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067) \u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e","\u003cbibref\u003eArchives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview\u003c/bibref\u003e","\u003cbibref\u003eCollege of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)\u003c/bibref\u003e","\u003cbibref\u003eMuseum of Modern Art, New York City, NY: For Us the Living Exhibition\u003c/bibref\u003e","\u003cbibref\u003eQueens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Books","Related Materials - VMFA Library: Exhibition File","Related Materials - VMFA Library: Subject File","Related Materials - Library of Virginia","Related Materials - Other Institutions"],"bibliography_tesim":["Ten Talents in the American Theatre, 1957","Living by Design: Leslie Cheek and the Arts, 1985","Designing for the Arts: Environments by Leslie Cheek, 1990","Southern Civility: Recollections of my Early Life, 2003","Drawings for the Stage by Leslie Cheek, Jr., 1987","VMFA Directors: Leslie Cheek Jr. (4 folders)","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067) ","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Archives of American Art, Washington, DC: Architectural Forum, 1945-47; Time Lab, 1946-47; House Beautiful, 1947; Forum Exhibits, 1946-48; Exhibition Houses, Architectural Forum, 1947; Architectural League; Beauty at the Bar, Architectural League, 1948; Life in USA Houses Speech, Architectural League, 1946; Baltimore Museum Files: Correspondence, Photographs, Exhibition Info and Brochures; Architectural Consultant Files, 1968 to 1992; Above It All (Yale Thesis); Camouflage Info, Fort Belvoir, early 40's; For Us the Living (microfilm, original at MOMA); Oral History Interview","College of William and Mary, Williamsburg, VA: Photographs of Stage Sets; Articles; Festival Theatre; Publicity for Theatre Development; Publicity for Frobenius; Cheek Award; O'Keefe Affair; Muscarelle Museum; Competition Show; Publicity for Stage Design Exhibitions; WandM Coat-of-Arms; Tom Sawyer Exhibition; Publicity for Frank Lloyd Wright Show; Washington Speech; 19th Century Party; Faraway Farm Information; Drawings of Stage Sets related to WandM (Phi Beta Hall; Taliaferro Hall, Parties)","Museum of Modern Art, New York City, NY: For Us the Living Exhibition","Queens Museum, New York City, NY: Drawings of the 1939 New York World's Fair (Virginia Room)","Virginia Historical Society, Richmond, VA: Four Camouflage Training Displays (Ft. Belvoir – early 40's); Rotunda Club History"],"bioghist_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage. \u003c/p\u003e\n","\u003cp\u003eBorn in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII. \u003c/p\u003e\n","\u003cp\u003eAfter the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts. \u003c/p\u003e\n","\u003cp\u003eAfter retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977. \u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://arthistorians.info/cheekl\"\u003eThe Dictionary of Art Historians\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003eSource: Virginia Commonwealth University's \u003ca href=\"http://search.vaheritage.org/vivaxtf/view?docId=vcu-cab/vircu00021.xml/\"\u003eGuide to the Mary Tyler Freeman Cheek McClenahan Papers\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Leslie Cheek, Jr. was the second and longest-tenured Director of the Virginia Museum of Fine Arts. During his 20 year Directorship (1948-1968), he transformed the museum from a regional gem to a museum that operated on the international stage. ","Born in Nashville, Cheek was the son of Mabel Wood and Leslie Cheek, Sr., who became rich by investing in the family formula for Maxwell House Coffee. Cheek studied art at Harvard University before taking up architecture at Yale University and Columbia. After graduation, he headed to William and Mary College where he founded and headed up the Department of Fine Arts from 1937-1939. In 1939, he married Richmonder Mary Tyler Freeman, daughter of Pulitzer Prize winning author Douglas Southall Freeman. From 1939-1942, Cheek served in his first Directorship at the Baltimore Museum of Fine Art. He left the museum in 1942 to join the Army Corps of Engineers in WWII. ","After the war, he was hired as the Associate Editor of Architectural Forum Magazine and lived in New York City for three years. In 1948, he came to the VMFA as Director, spending 20 years building the collections, endowments, and reputation of the museum. He was  known for the Artmobile, a mobile art program which brought the museum's collections all over the state of Virginia, and the Virginia Museum Theatre which opened in 1955 and successfully integrated the performing and visual arts. ","After retiring in 1968, Cheek stayed active in the arts, and two books were published about his life and career, \"Living by Design\" and \"Designing for the Arts.\" In 1967, the Cheeks purchased a mountaintop home named Skylark Farm in the Blue Ridge Mountains, which they donated to Washington and Lee University in 1977. ","Source:  The Dictionary of Art Historians","Source: Virginia Commonwealth University's  Guide to the Mary Tyler Freeman Cheek McClenahan Papers"],"custodhist_html_tesm":["\u003cp\u003eThis collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["This collection is comprised of materials donated by Leslie Cheek, Jr.'s family members. The bulk of this collection was donated to the VMFA Library by Leslie's widow Mary Tyler Freeman Cheek McClenahan in 1993. The remainder of the material was donated by Leslie's children in 2005."],"prefercite_html_tesm":["\u003cp\u003eLeslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Leslie Cheek, Jr. Personal Papers (SC-02). Gift of Mary Tyler Cheek McClenahan, Leslie Cheek III, Richard W. Cheek, and Elizabeth C. Morgan. VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eProcessing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["Processing and description were performed by Jennie Runnels in the mid-1990s. Original folder titles were retained. Publications were removed and added to the VMFA Library's holdings. Framed items were disassembled and the materials stored in flat files, with the exception of the few framed items which used archival mats."],"scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, plans, and photographs related to Skylark Farm, a house and tree farm located in the Blue Ridge Mountains of Virginia, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. The Cheeks were also involved in the transformation of the house into a conference center for the University in the 1990s.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, interviews, and exhibition details related to the 1985 publication of \"Living by Design: Leslie Cheek and the Arts,\" which was written by Parke Rouse, Jr. and researched by K. Richmond Temple. The photobiography was released at the same time that a corresponding exhibition entitled \"Cheek and the Arts\" opened at the Muscarelle Museum of Art in December 1985.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, drafts, and financial details related to the 1990 publication of \"Designing for the Arts: Environments by Leslie Cheek,\" which was written by K. Richmond Temple. It was designed as a photo essay, and served as volume two to the previously published \"Living by Design\" in 1985.\u003c/p\u003e","\u003cp\u003eThis series is mainly comprised of correspondence related to a myriad of activities and projects that Cheek took on throughout his career and during his retirement. There is a considerable amount of material created during his tenure as Director of the VMFA. This series also contains oversized materials, including many drawings done by Cheek while in school in the 1930s and after, as well as photographs, mounted clippings, and some bound volumes and drawings.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence about and the actual awards and degrees conferred upon Cheek throughout his life.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, itineraries, and programs detailing the Cheeks' personal travels around the world.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content Note","Series Description","Series Description","Series Description","Series Description","Series Description","Series Description"],"scopecontent_tesim":["The collection's inclusive dates are 1931-1993, with the bulk of the material dating from the 1960s-1980s. The collection is comprised of correspondence, plans, photographs, financial records, interviews, book drafts, exhibition records, travel itineraries, and other ephemeral material.","This series is comprised of correspondence, plans, and photographs related to Skylark Farm, a house and tree farm located in the Blue Ridge Mountains of Virginia, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. The Cheeks were also involved in the transformation of the house into a conference center for the University in the 1990s.","This series is comprised of correspondence, interviews, and exhibition details related to the 1985 publication of \"Living by Design: Leslie Cheek and the Arts,\" which was written by Parke Rouse, Jr. and researched by K. Richmond Temple. The photobiography was released at the same time that a corresponding exhibition entitled \"Cheek and the Arts\" opened at the Muscarelle Museum of Art in December 1985.","This series is comprised of correspondence, drafts, and financial details related to the 1990 publication of \"Designing for the Arts: Environments by Leslie Cheek,\" which was written by K. Richmond Temple. It was designed as a photo essay, and served as volume two to the previously published \"Living by Design\" in 1985.","This series is mainly comprised of correspondence related to a myriad of activities and projects that Cheek took on throughout his career and during his retirement. There is a considerable amount of material created during his tenure as Director of the VMFA. This series also contains oversized materials, including many drawings done by Cheek while in school in the 1930s and after, as well as photographs, mounted clippings, and some bound volumes and drawings.","This series is comprised of correspondence about and the actual awards and degrees conferred upon Cheek throughout his life.","This series is comprised of correspondence, itineraries, and programs detailing the Cheeks' personal travels around the world."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Publication"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_1c02dc40e094a70e20450781f6a750e4\"\u003eThis collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s.\u003c/abstract\u003e"],"abstract_tesim":["This collection documents a portion of the life of Leslie Cheek, Jr., the Virginia Museum of Fine Arts' second and longest-tenured Director (1948-1968). One series includes material from his early career and activities before the VMFA, as well as his tenure at the museum, and through his  retirement. Two series document the publication of two photobiographies about Cheek, \"Living by Design\" and \"Designing for the Arts.\" Another series is comprised of materials about Skylark Farm, the house and tree farm located in the Blue Ridge Mountains, owned, designed and furnished by the Cheeks between 1967 and 1977 when it was donated to Washington and Lee University. Other series document the Cheeks' personal world travels in the 1950s-1980s, some of Cheek's awards, and finally, a number of framed architectural drawings done by Cheek as a student in the 1930s."],"names_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University","Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Yale University","Joseph and Margaret Muscarelle Museum of Art‏","Virginia Museum of Fine Arts","Skylark Farm","Washington and Lee University"],"persname_ssim":["Cheek, Leslie, 1908-","McClenahan, Mary Tyler Freeman Cheek, 1917-","Temple, K. Richmond","Rouse, Parke, 1915-1997"],"language_ssim":["English \n.    "],"total_component_count_is":648,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:35:59.708Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_13"}},{"id":"virmu_repositories_2_resources_8","type":"collection","attributes":{"title":"Lillian Thomas Pratt Personal Papers (SC-07)","creator":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8#creator","type":"document_value","attributes":{"value":"Pratt, Lillian Thomas, 1876?","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8#abstract_or_scope","type":"document_value","attributes":{"value":"The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8#breadcrumbs","type":"document_value","attributes":{"value":{"id":"virmu_repositories_2_resources_8","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_8.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/8","title_filing_ssi":"Pratt, Lillian Thomas (SC-07)","title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"unitdate_ssm":["1901-1947"],"unitdate_inclusive_ssm":["1901-1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-07","/repositories/2/resources/8"],"text":["SC-07","/repositories/2/resources/8","Lillian Thomas Pratt Personal Papers (SC-07)","Art objects, Russian","Easter eggs","Fabergé eggs","The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . ","The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated","The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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can--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.","47.20.412, 47.20.333, 47.20.312","47.20.14, 47.20.284, 47.20.338","47.20.30, 47.20.26, 47.20.28, 47.20.214, 47.20.341, 47.20.363, 47.20.404, 47.20.309","47.20.167, 47.20.72, 47.20.287, 47.20.166, 47.20.346, 47.20.296, 47.20.90, 47.20.95, 47.20.420, 47.20.421, 47.20.85, 47.20.94, 47.20.77, 47.20.74, 47.20.78, 47.20.75, 47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62, 47.20.84, 47.20.86, 47.20.82, 47.20.91, 47.20.87, 47.20.115, 47.20.63, 47.20.83, 47.20.54, 47.20.88, 47.20.130, 47.20.93, 47.20.59, 47.20.56, 47.20.58, 47.20.92, 47.20.96","47.20.4, 47.20.71, 47.20.81, 47.20.70, 47.20.55, 47.20.80, 47.20.76, 47.20.332, 47.20.336, 47.20.397, 47.20.140, 47.20.342, 47.20.281, 47.20.304, 47.20.157","47.20.416, 47.20.349, 47.20.317, 47.20.197","47.20.314, 47.20.313, 47.20.322, 47.20.290, 47.20.251, 47.20.12, 47.20.319, 47.20.184, 47.20.169, 47.20.358, 47.20.350, 47.20.183, 47.20.187, 47.20.141, 47.20.162, 47.20.417, 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47.20.367","47.20.387","47.20.3","47.20.425","47.20.34","47.20.34","47.20.36, 47.20.32, 47.20.34","47.20.17","47.20.17","47.20.17","47.20.348","47.20.21","47.20.21","47.20.176","47.20.36","47.20.32","11061-1, 47.20.33, 47.20.34","11912-2, 47.20.34, 47.20.35, 47.20.32","11912-3, 47.20.34, 47.20.44, 47.20.148","1651, 47.20.235, 47.20.217, 47.20.222","4471, 47.20.214","490M, 47.20.32, 47.20.33","490M-6, 47.20.32","491M-19, 47.20.36, 47.20.231","491M-29, 47.20.148, 47.20.46","544M, 47.20.222, 47.20.217","7852M-10, 47.20.126","7852M-12, 47.20.34, 47.20.17, 47.20.18","7853M-4, 47.20.34, 47.20.32, 47.20.148, 47.20.46","The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","English \n.    "],"unitid_tesim":["SC-07","/repositories/2/resources/8"],"normalized_title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray"],"creator_corpname_ssim":["Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creators_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art objects, Russian","Easter eggs","Fabergé eggs"],"access_subjects_ssm":["Art objects, Russian","Easter eggs","Fabergé eggs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"extent_tesim":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"physfacet_tesim":["723 items"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e\n","\u003cp\u003eDigitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/lillian-thomas-pratt-personal-papers-sc-07/\"\u003eVMFA Collections Search website\u003c/a\u003e. \u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . "],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSchaffer Collection, 1934-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHammer Galleries, 1933-1945, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eEstate, 1932-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eClippings, 1932-1937, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMuseum Records, 1936-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated"],"bibliography_html_tesm":["\u003cbibref\u003eThe Fall of the Romanoffs: How the Ex-Empress \u0026amp; Rasputine Caused the Russian Revolution, 1917\u003c/bibref\u003e","\u003cbibref\u003eConfessions of the Czarina, 1918\u003c/bibref\u003e","\u003cbibref\u003eMother Dear: The Empress Marie of Russia and Her Times, 1926\u003c/bibref\u003e","\u003cbibref\u003eThe Tragic Bride: The Story of the Empress Alexandra of Russia, 1927\u003c/bibref\u003e","\u003cbibref\u003eThe Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Intimate Life of the Last Tzarina, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931\u003c/bibref\u003e","\u003cbibref\u003eRussia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931\u003c/bibref\u003e","\u003cbibref\u003eEducation of a Princess: A Memoir, 1931\u003c/bibref\u003e","\u003cbibref\u003eA Princess in Exile, 1932\u003c/bibref\u003e","\u003cbibref\u003eTwice Seven, 1937\u003c/bibref\u003e","\u003cbibref\u003eRussian Imperial Treasures: Collection of Lillian T. Pratt, undated\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940\u003c/bibref\u003e","\u003cbibref\u003eHandbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960\u003c/bibref\u003e","\u003cbibref\u003eFabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976\u003c/bibref\u003e","\u003cbibref\u003eFabergé: Virginia Museum of Fine Arts, 1995\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed: At the Virginia Museum of Fine Arts, 2011\u003c/bibref\u003e","\u003cbibref\u003eLillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996\u003c/bibref\u003e","\u003cbibref\u003eSelections from the Lillian Thomas Pratt Collection of Jewels, 1947\u003c/bibref\u003e","\u003cbibref\u003e12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1949\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1950\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1951\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1952\u003c/bibref\u003e","\u003cbibref\u003eJewelry by Fabergé, 1953\u003c/bibref\u003e","\u003cbibref\u003eJewels by Fabergé, 1954\u003c/bibref\u003e","\u003cbibref\u003eFabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed, 2011\u003c/bibref\u003e","\u003cbibref\u003eVMFA Collections: Decorative Arts: Metalwork: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVMFA Donors: Pratt, John Lee and Lillian Thomas\u003c/bibref\u003e","\u003cbibref\u003eVMFA Gallery Design: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pratt's Personal Library","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Video","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia"],"bibliography_tesim":["The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)"],"bioghist_html_tesm":["\u003cp\u003eTwo months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.\u003c/p\u003e\n","\u003cp\u003ePratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=6519%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER\"\u003eFabergé: Virginia Museum of Fine 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Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. 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Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eWide World Photos, Inc. (NY-33541), Copyright 1937.\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","Ge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Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities."],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives."],"processinfo_html_tesm":["\u003cp\u003eA large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. 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The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: 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Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. "],"abstract_html_tesm":["\u003cabstract id=\"aspace_fb5f9a7488efeca094913bc14bf01383\"\u003eThe collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer."],"names_coll_ssim":["Fabergé (Firm)","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections"],"names_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"language_ssim":["English \n.    "],"total_component_count_is":762,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:30:55.910Z","scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.\u003c/p\u003e\n","\u003cp\u003eThe invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. \u003c/p\u003e\n","\u003cp\u003eI have received your note and also the book, and am sorry that you have had this unpleasantness.\u003c/p\u003e\n","\u003cp\u003eI hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, \u003c/p\u003e\n","\u003cp\u003eYours very sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.\u003c/p\u003e\n","\u003cp\u003eI will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.\u003c/p\u003e\n","\u003cp\u003eOr maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.\u003c/p\u003e\n","\u003cp\u003eI am sorry you had to be annoyed paying\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethe freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.\u003c/p\u003e\n","\u003cp\u003eWith best wishes and kindest regards, in which Mrs. Schaffer joins me, I am\u003c/p\u003e\n","\u003cp\u003eYours most sincerely, \nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. \u003c/p\u003e\n","\u003cp\u003eSorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.\u003c/p\u003e\n","\u003cp\u003eI have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. \u003c/p\u003e\n","\u003cp\u003eOn second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see \u003c/p\u003e\n","\u003cp\u003e(over please)\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003eyour things, and at the same time I could measure the egg.\u003c/p\u003e\n","\u003cp\u003eI think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. \u003c/p\u003e\n","\u003cp\u003eThe heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. \u003c/p\u003e\n","\u003cp\u003eHoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexanders S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eJust a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. \u003c/p\u003e\n","\u003cp\u003eSo far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.\u003c/p\u003e\n","\u003cp\u003eBelieve it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. \u003c/p\u003e\n","\u003cp\u003eI would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. \u003c/p\u003e\n","\u003cp\u003eRegarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. \u003c/p\u003e\n","\u003cp\u003eI could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for \u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethis, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, and love from the family, \u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.\u003c/p\u003e\n","\u003cp\u003eI am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.\u003c/p\u003e\n","\u003cp\u003eI am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eIt was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.\u003c/p\u003e\n","\u003cp\u003eIf I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.\u003c/p\u003e\n","\u003cp\u003eMrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and wishes for your speedy recovery,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \u003c/p\u003e\n","\u003cp\u003eTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt, \u003c/p\u003e\n","\u003cp\u003eIt is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. \u003c/p\u003e\n","\u003cp\u003eI am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. \u003c/p\u003e\n","\u003cp\u003eI am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eSeptember 1, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter and check which I have received today.\u003c/p\u003e\n","\u003cp\u003eI was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.\u003c/p\u003e\n","\u003cp\u003eThe raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.\u003c/p\u003e\n","\u003cp\u003eHowever, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.\u003c/p\u003e\n","\u003cp\u003eI am looking forward to seeing you soon.  With kindest regards and best wishes, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eOctober 7, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eWe are very much relieved that you have found the box.  I would have felt miserable otherwise.\u003c/p\u003e\n","\u003cp\u003eI am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.\u003c/p\u003e\n","\u003cp\u003eI hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eP.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eMay 11, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia \u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.\u003c/p\u003e\n","\u003cp\u003eI am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.\u003c/p\u003e\n","\u003cp\u003eI sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.\u003c/p\u003e\n","\u003cp\u003eOf course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.\u003c/p\u003e\n","\u003cp\u003eLooking forward to the pleasure of seeing you soon, with kindest regards, I am\u003c/p\u003e\n","\u003cp\u003eVery sincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: Telephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eAugust 1, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eI was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. \u003c/p\u003e\n","\u003cp\u003eIt is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. \u003c/p\u003e\n","\u003cp\u003eWe are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer \n[signature]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eNovember 2, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.\u003c/p\u003e\n","\u003cp\u003eHave you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.\u003c/p\u003e\n","\u003cp\u003ePaul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.\u003c/p\u003e\n","\u003cp\u003eI hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 15, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.\u003c/p\u003e\n","\u003cp\u003eI am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.\u003c/p\u003e\n","\u003cp\u003eThe silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\nP. S.  The parchment just arrived.  Thank you.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 30, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!\u003c/p\u003e\n","\u003cp\u003eWe both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.\u003c/p\u003e\n","\u003cp\u003eWe do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).\u003c/p\u003e\n","\u003cp\u003eWith kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003e\nNovember 21, 1945\u003c/p\u003e\n","\u003cp\u003eMrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.\u003c/p\u003e\n","\u003cp\u003eI am enclosing a receipt for them.  They all arrived in good condition including the flower.\u003c/p\u003e\n","\u003cp\u003eRegarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.\u003c/p\u003e\n","\u003cp\u003eI am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nCordially yours,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eENC.\nASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003eJune 4, 1946\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003eThe man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.\u003c/p\u003e\n","\u003cp\u003eHe claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.\u003c/p\u003e\n","\u003cp\u003ePlease do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nSincerely,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York\u003c/p\u003e\n","\u003cp\u003eFebruary 3, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your very kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWell, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.\u003c/p\u003e\n","\u003cp\u003eAlex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.\u003c/p\u003e\n","\u003cp\u003eThe children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.\u003c/p\u003e\n","\u003cp\u003eI hope that we'll be seeing you soon.\u003c/p\u003e\n","\u003cp\u003ePeter and Paul send their love, as do I.\u003c/p\u003e\n","\u003cp\u003eSincerely,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.\u003c/p\u003e\n","\u003cp\u003eApril 24, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you very much for your check and letter.  I do appreciate it.\u003c/p\u003e\n","\u003cp\u003eMy husband just went away for a few days to recuperate, as he is still not up to par.\u003c/p\u003e\n","\u003cp\u003eYes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eCordially,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eJuly 5, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your nice letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!\u003c/p\u003e\n","\u003cp\u003eThe children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.\u003c/p\u003e\n","\u003cp\u003eI hope you are taking good care of yourself and keeping well.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eRay Schaffer\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eCopy\u003c/p\u003e\n","\u003cp\u003eDec. 4th '45\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Schaffer – \u003c/p\u003e\n","\u003cp\u003eHerewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.\u003c/p\u003e\n","\u003cp\u003eTell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.\u003c/p\u003e\n","\u003cp\u003eKindest regards, Sincerely yours,\u003c/p\u003e\n","\u003cp\u003e(Signed) Lillian T. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffe [ripped]\n15 West 50th Street [ripped]\u003c/p\u003e\n","\u003cp\u003eCenter Publications, Inc. \nNEW YORK N Y\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\u003c/p\u003e\n","\u003cp\u003eA most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. \u003c/p\u003e\n","\u003cp\u003eThese eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2443\u003c/p\u003e\n","\u003cp\u003eGolden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.\u003c/p\u003e\n","\u003cp\u003eThis very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN. L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026amp; Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\u003c/p\u003e\n","\u003cp\u003eGOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eThis series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).\u003c/p\u003e\n","\u003cp\u003ePrice tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.\u003c/p\u003e\n","\u003cp\u003eFinally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.\u003c/p\u003e\n","\u003cp\u003eFrom the Collection in the Winter Palace, St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg \nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809\u003c/p\u003e\n","\u003cp\u003eSet of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nHotel McAlpin\nNew York, New York\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.\u003c/p\u003e\n","\u003cp\u003eFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528\u003c/p\u003e\n","\u003cp\u003eAn icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111\u003c/p\u003e\n","\u003cp\u003eA jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.\u003c/p\u003e\n","\u003cp\u003eIt is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019\u003c/p\u003e\n","\u003cp\u003eA jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.\u003c/p\u003e\n","\u003cp\u003eThe box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148\u003c/p\u003e\n","\u003cp\u003eA brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.\u003c/p\u003e\n","\u003cp\u003eIt was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C\u003c/p\u003e\n","\u003cp\u003eA porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.\u003c/p\u003e\n","\u003cp\u003eThe Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \u003c/p\u003e\n","\u003cp\u003eArticle No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62\u003c/p\u003e\n","\u003cp\u003eRare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMarch 6th, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nEaster, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. \u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nAugust 17, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/2\u003c/p\u003e\n","\u003cp\u003eGold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.\u003c/p\u003e\n","\u003cp\u003eIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 29th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nFebruary 8th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay 11th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eLillian T. Pratt\nChristmas, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026amp; Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\u003c/p\u003e\n","\u003cp\u003eLOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.\u003c/p\u003e","\u003cp\u003eTranscription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677\u003c/p\u003e","\u003cp\u003eTranscription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136\u003c/p\u003e","\u003cp\u003eTranscription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -\u003c/p\u003e","\u003cp\u003eTranscription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39\u003c/p\u003e","\u003cp\u003eThis series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 149322\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 159619\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00\u003c/p\u003e","\u003cp\u003eTranscription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026amp; Co.\nFifth Avenue New York\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]\u003c/p\u003e\n","\u003cp\u003e45 00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026amp; Co.\nNew York\u003c/p\u003e\n","\u003cp\u003e[Back]\nB. Altman \u0026amp; Co. New York\n60\n25.00\nOver Treasure Trove tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026amp; Co. New York tag \n45.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026amp; Co. New York\n50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026amp; SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag, Sale\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag [$45.00?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026amp; Col. New York\n[Back] Altman Lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026amp; Co. New York\n[Back] Altman lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52A\nM 98\nB. ALTMAN \u0026amp; CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52-A\nB. ALTMAN \u0026amp; CO.\nS 93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nS93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA4 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nW5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52-A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026amp; Co.\nNew York\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026amp; Co.\nNew York\n[R829 written over company name at bottom]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026amp; Bohemian Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNew York\n165.00 [lined through]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Miller \u0026amp; Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026amp; J. Sloane\n47th \u0026amp; 5th Ave\nN. Y. City\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026amp; Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height\u003c/p\u003e","\u003cp\u003eTranscription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026amp; CO.\nPHILADELPHIA\u003c/p\u003e","\u003cp\u003eTranscription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026amp; E. Wakelin\u003c/p\u003e","\u003cp\u003eTranscription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W\u003c/p\u003e","\u003cp\u003eTranscription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9\u003c/p\u003e","\u003cp\u003eTranscription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026amp; Richard\nSibley\nRRM\u003c/p\u003e","\u003cp\u003eTranscription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427\u003c/p\u003e","\u003cp\u003eTranscription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n10679\nGeo. III\n[lion \u0026amp; unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER\u003c/p\u003e","\u003cp\u003eTranscription: \n2002\n$20.00 (b)\nGeorgian\nMA\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R\u003c/p\u003e","\u003cp\u003eTranscription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32\u003c/p\u003e","\u003cp\u003eTranscription: \nS. \u0026amp; G. GUMP CO.\nSAN FRANCISCO, CAL.\u003c/p\u003e\n","\u003cp\u003eAntique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.\u003c/p\u003e\n","\u003cp\u003eS. \u0026amp; G. GUMP COMPANY\u003c/p\u003e","\u003cp\u003eThis series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.\u003c/p\u003e","\u003cp\u003eTranscription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures\u003c/p\u003e\n","\u003cp\u003eThis remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. \u003c/p\u003e\n","\u003cp\u003eAll Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware\u003c/p\u003e\n","\u003cp\u003eFIFTH FLOOR\u003c/p\u003e\n","\u003cp\u003eThalhimers\u003c/p\u003e","\u003cp\u003eTranscription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel\u003c/p\u003e\n","\u003cp\u003ePart of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention\u003c/p\u003e\n","\u003cp\u003eCzarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. \u003c/p\u003e\n","\u003cp\u003eWhen brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026amp; Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]\u003c/p\u003e","\u003cp\u003eThis series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.\u003c/p\u003e","\u003cp\u003eDescription: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".\u003c/p\u003e","\u003cp\u003eDescription: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.\u003c/p\u003e","\u003cp\u003eDescription: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.\u003c/p\u003e","\u003cp\u003eDescription: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.\u003c/p\u003e","\u003cp\u003eTranscription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY\u003c/p\u003e\n","\u003cp\u003eTO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]\u003c/p\u003e\n","\u003cp\u003ePhotographs - Do Not Bend\u003c/p\u003e","\u003cp\u003eDescription: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eDescription: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.\u003c/p\u003e","\u003cp\u003eTranscription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.\u003c/p\u003e\n","\u003cp\u003e1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003e[Hand drawn and numbered outlines of the heads of all the people in the photograph]\u003c/p\u003e\n","\u003cp\u003e14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.\u003c/p\u003e","\u003cp\u003eDescription: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e"],"collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_8","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_8.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/8","title_filing_ssi":"Pratt, Lillian Thomas (SC-07)","title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"unitdate_ssm":["1901-1947"],"unitdate_inclusive_ssm":["1901-1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-07","/repositories/2/resources/8"],"text":["SC-07","/repositories/2/resources/8","Lillian Thomas Pratt Personal Papers (SC-07)","Art objects, Russian","Easter eggs","Fabergé eggs","The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . ","The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated","The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.","47.20.412, 47.20.333, 47.20.312","47.20.14, 47.20.284, 47.20.338","47.20.30, 47.20.26, 47.20.28, 47.20.214, 47.20.341, 47.20.363, 47.20.404, 47.20.309","47.20.167, 47.20.72, 47.20.287, 47.20.166, 47.20.346, 47.20.296, 47.20.90, 47.20.95, 47.20.420, 47.20.421, 47.20.85, 47.20.94, 47.20.77, 47.20.74, 47.20.78, 47.20.75, 47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62, 47.20.84, 47.20.86, 47.20.82, 47.20.91, 47.20.87, 47.20.115, 47.20.63, 47.20.83, 47.20.54, 47.20.88, 47.20.130, 47.20.93, 47.20.59, 47.20.56, 47.20.58, 47.20.92, 47.20.96","47.20.4, 47.20.71, 47.20.81, 47.20.70, 47.20.55, 47.20.80, 47.20.76, 47.20.332, 47.20.336, 47.20.397, 47.20.140, 47.20.342, 47.20.281, 47.20.304, 47.20.157","47.20.416, 47.20.349, 47.20.317, 47.20.197","47.20.314, 47.20.313, 47.20.322, 47.20.290, 47.20.251, 47.20.12, 47.20.319, 47.20.184, 47.20.169, 47.20.358, 47.20.350, 47.20.183, 47.20.187, 47.20.141, 47.20.162, 47.20.417, 47.20.329","47.20.173, 47.20.195","47.20.173, 47.20.195","47.20.31, 47.20.291, 47.20.193, 47.20.275, 47.20.181, 47.20.164, 47.20.168, 47.20.27, 47.20.182, 47.20.177, 47.20.196, 47.20.396, 47.20.315, 47.20.337, 47.20.413, 47.20.320","47.20.263, 47.20.353","47.20.310, 47.20.339, 47.20.19, 47.20.282, 47.20.286, 47.20.45, 47.20.348, 47.20.142, 47.20.143, 47.20.128, 47.20.185, 47.20.190, 47.20.180, 47.20.276, 47.20.127","47.20.255, 47.20.294, 47.20.314, 47.20.356, 47.20.414, 47.20.299, 47.20.210,","47.20.22, 47.20.13, 47.20.151, 47.20.279, 47.20.191, 47.20.252, 47.20.7, 47.20.21","47.20.51, 47.20.64, 47.20.493, 47.20.52, 47.20.126, 47.20.278, 47.20.208","47.20.29, 47.20.17","47.20.221, 47.20.265, 47.20.308","47.20.240, 47.20.257, 47.20.256","47.20.306","47.20.292, 47.20.288, 47.20.267","47.20.259, 47.20.311, 47.20.138","47.20.20, 47.20.297, 47.20.351, 47.20.163, 47.20.144, 47.20.220","47.20.215, 47.20.394","47.20.374, 47.20.216, 47.20.110, 47.20.136, 47.20.113, 47.20.118, 47.20.112, 47.20.122, 47.20.119, 47.20.114, 27.40.120, 47.20.125, 47.20.121, 47.20.117","47.20.374, 47.20.216, 47.20.110, 47.20.136, 47.20.113, 47.20.118, 47.20.112, 47.20.122, 47.20.119, 47.20.114, 27.40.120, 47.20.125, 47.20.121, 47.20.117","47.20.131","47.20.13","47.20.33","47.20.33","47.20.248, 47.20.249, 47.20.132, 47.20.30, 47.20.403, 47.20.402","47.20.373","47.20.209, 47.20.334, 47.20.318, 47.20.102, 47.20.100, 47.20.101","47.20.343, 47.20.344, 47.20.340, 47.20.46, 47.20.148","47.20.495, 47.20.273","47.20.233, 47.20.395","47.20.16","47.20.13","47.20.154, 47.20.205","47.20.379","47.20.383","47.20.310","47.20.339","47.20.19","47.20.282","47.20.286","47.20.45","47.20.284","47.20.312","47.20.338","47.20.333","47.20.412","47.20.14","47.20.13","47.20.177","47.20.196","47.20.168","47.20.181","47.20.193","47.20.164","47.20.182","47.20.169","47.20.27","47.20.275","47.20.291","47.20.320","47.20.337","47.20.413","47.20.31","47.20.315","47.20.396","47.20.348","47.20.142","47.20.143","47.20.128","47.20.279","47.20.185","47.20.190","47.20.180","47.20.276","47.20.127","47.20.131","47.20.167","47.20.139","47.20.312","47.20.312","47.20.333","47.20.412","47.20.39","47.20.14","47.20.284","47.20.338","47.20.30","47.20.26","47.20.28","47.20.214","47.20.404","47.20.386","47.20.145","47.20.287","47.20.72","47.20.166","47.20.346","47.20.296","47.20.90","47.20.37","47.20.95, 47.20.85, 47.20.94, 47.20.77, 47.20.59","47.20.74, 47.20.78, 47.20.75, 47.20.63, 47.20.83","47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62","47.20.84, 47.20.86, 47.20.82, 47.20.91, 47.20.87","47.20.115, 47.20.130, 47.20.93, 47.20.56, 47.20.58","47.20.54, 47.20.88, 47.20.92, 47.20.96","47.20.4","47.20.397","47.20.336","47.20.342","47.20.332","47.20.71","47.20.80, 47.20.76","47.20.81, 47.20.70, 47.20.55","47.20.140","47.20.281","47.20.304","47.20.157","47.20.16","47.20.349","47.20.12","47.20.416","47.20.317","47.20.197","47.20.322","47.20.290","47.20.314","47.20.313","47.20.42","47.20.251","47.20.187","47.20.184","47.20.169","47.20.183","47.20.329","47.20.319","47.20.350","47.20.358","47.20.162","47.20.141","47.20.417","47.20.205","47.20.154","47.20.173","47.20.173","47.20.195","47.20.195","47.20.31","47.20.193","47.20.291","47.20.177","47.20.196","47.20.168","47.20.181","47.20.164","47.20.182","47.20.27","47.20.275","47.20.13","47.20.52","47.20.320","47.20.337","47.20.413","47.20.51, 47.20.493, 47.20.64","47.20.315","47.20.396","47.20.126","47.20.208a-b","47.20.278","47.20.353","47.20.263","47.20.348","47.20.142","47.20.143","47.20.128","47.20.185","47.20.190","47.20.180","47.20.276","47.20.127","47.20.310","47.20.339","47.20.19","47.20.282","47.20.286","47.20.45","47.20.13","47.20.151","47.20.279","47.20.7","47.20.21","47.20.191","47.20.252","47.20.22","47.20.29","47.20.17","47.20.233","47.20.395","47.20.341, 47.20.363","47.20.176","47.20.420, 47.20.421","47.20.20","47.20.340","47.20.418","47.20.33","47.20.255","47.20.294a-b","47.20.314","47.20.138","47.20.356, 47.20.414","47.20.163","47.20.248, 47.20.249","47.20.350","47.20.299","47.20.210","47.20.297","47.20.97?","47.20.144","47.20.221","47.20.220","47.20.240","47.20.257","47.20.267","47.20.256","47.20.265","47.20.379","47.20.308","47.20.311","47.20.374","47.20.259","47.20.216","47.20.110, 47.20.136","47.20.119, 47.20.114, 47.20.120, 47.20.125","47.20.113, 47.20.118, 47.20.112, 47.20.122","47.20.121, 47.20.117","47.20.288","47.20.292","47.20.383.1-6","47.20.343","47.20.273","47.20.46, 47.20.148","47.20.495","47.20.344","47.20.394","47.20.215","47.20.209","47.20.373","47.20.131","47.20.334","47.20.102","47.20.100","47.20.101","47.20.318","47.20.132, 47.20.30, 47.20.403, 47.20.402","47.20.306","47.20.351","47.20.270","47.20.18, 47.20.8","47.20.323","47.20.345","47.20.10","47.20.18","47.20.419","47.20.355","47.20.392","47.20.40","47.20.357","47.20.8","47.20.384","47.20.9","47.20.427","47.20.382","47.20.419","47.20.1","47.20.2","47.20.2","47.20.11","47.20.391","47.20.389","47.20.393","47.20.378","47.20.25,47.20.419, 47.20.10, 47.20.11","47.20.392","47.20.398","47.20.381","47.20.419","47.20.355","47.20.391","47.20.9a","47.20.384.1-13","47.20.378","47.20.427","47.20.382","47.20.18","47.20.8","47.20.409","47.20.398","47.20.405","47.20.357","47.20.392","47.20.390","47.20.388.1, 47.20.388.2","47.20.36","47.20.389","47.20.393","47.20.393","47.20.387","47.20.3","47.20.425","47.20.303, 47.20.367","47.20.426","47.20.146","47.20.5","47.20.6","47.20.40","47.20.345","47.20.222","47.20.213","47.20.69","47.20.137","47.20.272","47.20.38","47.20.179","47.20.277a-b","47.20.330","47.20.326","47.20.53","47.20.305","47.20.323","47.20.376.1-42","47.20.271","47.20.269","47.20.244","47.20.268","47.20.152","47.20.15","47.20.165","47.20.327","47.20.328","47.20.41","47.20.293","47.20.47","47.20.48","47.20.49","47.20.50","47.20.65","47.20.66","47.20.67","47.20.68","47.20.98","47.20.250","47.20.161","47.20.325","47.20.227","47.20.235","47.20.231","47.20.211","47.20.207","47.20.202","47.20.324","47.20.228","47.20.241, 47.20.242","47.20.170","47.20.203","47.20.225","47.20.217","47.20.218","47.20.221","47.20.224","47.20.230","47.20.229","47.20.232","47.20.261","47.20.260","47.20.155","47.20.60","47.20.171","47.20.239","47.20.244","47.20.247","47.20.262","47.20.266","47.20.300","47.20.133","47.20.134","47.20.289","47.20.57","47.20.99","47.20.111","47.20.116","47.20.123","47.20.124","47.20.385","47.20.301","47.20.156","47.20.172","47.20.186","47.20.246","47.20.199","47.20.198","47.20.178","47.20.285","47.20.309","47.20.234","47.20.226","47.20.223","47.20.220","47.20.219","47.20.212","47.20.245","47.20.109","47.20.43","47.20.238","47.20.103","47.20.108","47.20.354","47.20.375","47.20.335","47.20.331","47.20.321","47.20.298","47.20.254","47.20.105","47.20.104","47.20.106","47.20.107","47.20.135","47.20.359, 47.20.365","47.20.35","42.19.1","47.20.1, 47.20.2","47.20.11","47.20.25","47.20.10","47.20.419","47.20.32","47.20.32","47.20.32","47.20.32","47.20.32","47.20.357","47.20.409","47.20.303, 47.20.367","47.20.387","47.20.3","47.20.425","47.20.34","47.20.34","47.20.36, 47.20.32, 47.20.34","47.20.17","47.20.17","47.20.17","47.20.348","47.20.21","47.20.21","47.20.176","47.20.36","47.20.32","11061-1, 47.20.33, 47.20.34","11912-2, 47.20.34, 47.20.35, 47.20.32","11912-3, 47.20.34, 47.20.44, 47.20.148","1651, 47.20.235, 47.20.217, 47.20.222","4471, 47.20.214","490M, 47.20.32, 47.20.33","490M-6, 47.20.32","491M-19, 47.20.36, 47.20.231","491M-29, 47.20.148, 47.20.46","544M, 47.20.222, 47.20.217","7852M-10, 47.20.126","7852M-12, 47.20.34, 47.20.17, 47.20.18","7853M-4, 47.20.34, 47.20.32, 47.20.148, 47.20.46","The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","English \n.    "],"unitid_tesim":["SC-07","/repositories/2/resources/8"],"normalized_title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray"],"creator_corpname_ssim":["Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creators_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art objects, Russian","Easter eggs","Fabergé eggs"],"access_subjects_ssm":["Art objects, Russian","Easter eggs","Fabergé eggs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"extent_tesim":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"physfacet_tesim":["723 items"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e\n","\u003cp\u003eDigitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/lillian-thomas-pratt-personal-papers-sc-07/\"\u003eVMFA Collections Search website\u003c/a\u003e. \u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . "],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSchaffer Collection, 1934-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHammer Galleries, 1933-1945, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eEstate, 1932-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eClippings, 1932-1937, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMuseum Records, 1936-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated"],"bibliography_html_tesm":["\u003cbibref\u003eThe Fall of the Romanoffs: How the Ex-Empress \u0026amp; Rasputine Caused the Russian Revolution, 1917\u003c/bibref\u003e","\u003cbibref\u003eConfessions of the Czarina, 1918\u003c/bibref\u003e","\u003cbibref\u003eMother Dear: The Empress Marie of Russia and Her Times, 1926\u003c/bibref\u003e","\u003cbibref\u003eThe Tragic Bride: The Story of the Empress Alexandra of Russia, 1927\u003c/bibref\u003e","\u003cbibref\u003eThe Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Intimate Life of the Last Tzarina, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931\u003c/bibref\u003e","\u003cbibref\u003eRussia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931\u003c/bibref\u003e","\u003cbibref\u003eEducation of a Princess: A Memoir, 1931\u003c/bibref\u003e","\u003cbibref\u003eA Princess in Exile, 1932\u003c/bibref\u003e","\u003cbibref\u003eTwice Seven, 1937\u003c/bibref\u003e","\u003cbibref\u003eRussian Imperial Treasures: Collection of Lillian T. Pratt, undated\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940\u003c/bibref\u003e","\u003cbibref\u003eHandbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960\u003c/bibref\u003e","\u003cbibref\u003eFabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976\u003c/bibref\u003e","\u003cbibref\u003eFabergé: Virginia Museum of Fine Arts, 1995\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed: At the Virginia Museum of Fine Arts, 2011\u003c/bibref\u003e","\u003cbibref\u003eLillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996\u003c/bibref\u003e","\u003cbibref\u003eSelections from the Lillian Thomas Pratt Collection of Jewels, 1947\u003c/bibref\u003e","\u003cbibref\u003e12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1949\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1950\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1951\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1952\u003c/bibref\u003e","\u003cbibref\u003eJewelry by Fabergé, 1953\u003c/bibref\u003e","\u003cbibref\u003eJewels by Fabergé, 1954\u003c/bibref\u003e","\u003cbibref\u003eFabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed, 2011\u003c/bibref\u003e","\u003cbibref\u003eVMFA Collections: Decorative Arts: Metalwork: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVMFA Donors: Pratt, John Lee and Lillian Thomas\u003c/bibref\u003e","\u003cbibref\u003eVMFA Gallery Design: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pratt's Personal Library","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Video","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia"],"bibliography_tesim":["The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)"],"bioghist_html_tesm":["\u003cp\u003eTwo months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.\u003c/p\u003e\n","\u003cp\u003ePratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=6519%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER\"\u003eFabergé: Virginia Museum of Fine 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Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. 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Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eWide World Photos, Inc. (NY-33541), Copyright 1937.\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","Ge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Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities."],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives."],"processinfo_html_tesm":["\u003cp\u003eA large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. 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The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: 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Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. "],"abstract_html_tesm":["\u003cabstract id=\"aspace_fb5f9a7488efeca094913bc14bf01383\"\u003eThe collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer."],"names_coll_ssim":["Fabergé (Firm)","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections"],"names_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"language_ssim":["English \n.    "],"total_component_count_is":762,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:30:55.910Z","scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.\u003c/p\u003e\n","\u003cp\u003eThe invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. \u003c/p\u003e\n","\u003cp\u003eI have received your note and also the book, and am sorry that you have had this unpleasantness.\u003c/p\u003e\n","\u003cp\u003eI hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, \u003c/p\u003e\n","\u003cp\u003eYours very sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.\u003c/p\u003e\n","\u003cp\u003eI will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.\u003c/p\u003e\n","\u003cp\u003eOr maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.\u003c/p\u003e\n","\u003cp\u003eI am sorry you had to be annoyed paying\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethe freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.\u003c/p\u003e\n","\u003cp\u003eWith best wishes and kindest regards, in which Mrs. Schaffer joins me, I am\u003c/p\u003e\n","\u003cp\u003eYours most sincerely, \nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. \u003c/p\u003e\n","\u003cp\u003eSorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.\u003c/p\u003e\n","\u003cp\u003eI have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. \u003c/p\u003e\n","\u003cp\u003eOn second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see \u003c/p\u003e\n","\u003cp\u003e(over please)\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003eyour things, and at the same time I could measure the egg.\u003c/p\u003e\n","\u003cp\u003eI think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. \u003c/p\u003e\n","\u003cp\u003eThe heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. \u003c/p\u003e\n","\u003cp\u003eHoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexanders S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eJust a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. \u003c/p\u003e\n","\u003cp\u003eSo far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.\u003c/p\u003e\n","\u003cp\u003eBelieve it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. \u003c/p\u003e\n","\u003cp\u003eI would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. \u003c/p\u003e\n","\u003cp\u003eRegarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. \u003c/p\u003e\n","\u003cp\u003eI could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for \u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethis, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, and love from the family, \u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.\u003c/p\u003e\n","\u003cp\u003eI am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.\u003c/p\u003e\n","\u003cp\u003eI am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eIt was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.\u003c/p\u003e\n","\u003cp\u003eIf I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.\u003c/p\u003e\n","\u003cp\u003eMrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and wishes for your speedy recovery,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \u003c/p\u003e\n","\u003cp\u003eTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt, \u003c/p\u003e\n","\u003cp\u003eIt is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. \u003c/p\u003e\n","\u003cp\u003eI am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. \u003c/p\u003e\n","\u003cp\u003eI am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eSeptember 1, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter and check which I have received today.\u003c/p\u003e\n","\u003cp\u003eI was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.\u003c/p\u003e\n","\u003cp\u003eThe raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.\u003c/p\u003e\n","\u003cp\u003eHowever, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.\u003c/p\u003e\n","\u003cp\u003eI am looking forward to seeing you soon.  With kindest regards and best wishes, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eOctober 7, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eWe are very much relieved that you have found the box.  I would have felt miserable otherwise.\u003c/p\u003e\n","\u003cp\u003eI am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.\u003c/p\u003e\n","\u003cp\u003eI hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eP.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eMay 11, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia \u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.\u003c/p\u003e\n","\u003cp\u003eI am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.\u003c/p\u003e\n","\u003cp\u003eI sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.\u003c/p\u003e\n","\u003cp\u003eOf course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.\u003c/p\u003e\n","\u003cp\u003eLooking forward to the pleasure of seeing you soon, with kindest regards, I am\u003c/p\u003e\n","\u003cp\u003eVery sincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: Telephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eAugust 1, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eI was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. \u003c/p\u003e\n","\u003cp\u003eIt is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. \u003c/p\u003e\n","\u003cp\u003eWe are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer \n[signature]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eNovember 2, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.\u003c/p\u003e\n","\u003cp\u003eHave you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.\u003c/p\u003e\n","\u003cp\u003ePaul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.\u003c/p\u003e\n","\u003cp\u003eI hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 15, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.\u003c/p\u003e\n","\u003cp\u003eI am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.\u003c/p\u003e\n","\u003cp\u003eThe silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\nP. S.  The parchment just arrived.  Thank you.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 30, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!\u003c/p\u003e\n","\u003cp\u003eWe both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.\u003c/p\u003e\n","\u003cp\u003eWe do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).\u003c/p\u003e\n","\u003cp\u003eWith kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003e\nNovember 21, 1945\u003c/p\u003e\n","\u003cp\u003eMrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.\u003c/p\u003e\n","\u003cp\u003eI am enclosing a receipt for them.  They all arrived in good condition including the flower.\u003c/p\u003e\n","\u003cp\u003eRegarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.\u003c/p\u003e\n","\u003cp\u003eI am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nCordially yours,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eENC.\nASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003eJune 4, 1946\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003eThe man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.\u003c/p\u003e\n","\u003cp\u003eHe claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.\u003c/p\u003e\n","\u003cp\u003ePlease do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nSincerely,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York\u003c/p\u003e\n","\u003cp\u003eFebruary 3, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your very kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWell, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.\u003c/p\u003e\n","\u003cp\u003eAlex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.\u003c/p\u003e\n","\u003cp\u003eThe children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.\u003c/p\u003e\n","\u003cp\u003eI hope that we'll be seeing you soon.\u003c/p\u003e\n","\u003cp\u003ePeter and Paul send their love, as do I.\u003c/p\u003e\n","\u003cp\u003eSincerely,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.\u003c/p\u003e\n","\u003cp\u003eApril 24, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you very much for your check and letter.  I do appreciate it.\u003c/p\u003e\n","\u003cp\u003eMy husband just went away for a few days to recuperate, as he is still not up to par.\u003c/p\u003e\n","\u003cp\u003eYes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eCordially,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eJuly 5, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your nice letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!\u003c/p\u003e\n","\u003cp\u003eThe children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.\u003c/p\u003e\n","\u003cp\u003eI hope you are taking good care of yourself and keeping well.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eRay Schaffer\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eCopy\u003c/p\u003e\n","\u003cp\u003eDec. 4th '45\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Schaffer – \u003c/p\u003e\n","\u003cp\u003eHerewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.\u003c/p\u003e\n","\u003cp\u003eTell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.\u003c/p\u003e\n","\u003cp\u003eKindest regards, Sincerely yours,\u003c/p\u003e\n","\u003cp\u003e(Signed) Lillian T. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffe [ripped]\n15 West 50th Street [ripped]\u003c/p\u003e\n","\u003cp\u003eCenter Publications, Inc. \nNEW YORK N Y\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\u003c/p\u003e\n","\u003cp\u003eA most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. \u003c/p\u003e\n","\u003cp\u003eThese eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2443\u003c/p\u003e\n","\u003cp\u003eGolden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.\u003c/p\u003e\n","\u003cp\u003eThis very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN. L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026amp; Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\u003c/p\u003e\n","\u003cp\u003eGOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eThis series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).\u003c/p\u003e\n","\u003cp\u003ePrice tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.\u003c/p\u003e\n","\u003cp\u003eFinally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.\u003c/p\u003e\n","\u003cp\u003eFrom the Collection in the Winter Palace, St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg \nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809\u003c/p\u003e\n","\u003cp\u003eSet of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nHotel McAlpin\nNew York, New York\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.\u003c/p\u003e\n","\u003cp\u003eFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528\u003c/p\u003e\n","\u003cp\u003eAn icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111\u003c/p\u003e\n","\u003cp\u003eA jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.\u003c/p\u003e\n","\u003cp\u003eIt is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019\u003c/p\u003e\n","\u003cp\u003eA jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.\u003c/p\u003e\n","\u003cp\u003eThe box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148\u003c/p\u003e\n","\u003cp\u003eA brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.\u003c/p\u003e\n","\u003cp\u003eIt was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C\u003c/p\u003e\n","\u003cp\u003eA porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.\u003c/p\u003e\n","\u003cp\u003eThe Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \u003c/p\u003e\n","\u003cp\u003eArticle No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62\u003c/p\u003e\n","\u003cp\u003eRare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMarch 6th, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nEaster, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. \u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nAugust 17, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/2\u003c/p\u003e\n","\u003cp\u003eGold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.\u003c/p\u003e\n","\u003cp\u003eIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 29th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nFebruary 8th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay 11th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eLillian T. Pratt\nChristmas, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026amp; Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\u003c/p\u003e\n","\u003cp\u003eLOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.\u003c/p\u003e","\u003cp\u003eTranscription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677\u003c/p\u003e","\u003cp\u003eTranscription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136\u003c/p\u003e","\u003cp\u003eTranscription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -\u003c/p\u003e","\u003cp\u003eTranscription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39\u003c/p\u003e","\u003cp\u003eThis series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 149322\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 159619\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00\u003c/p\u003e","\u003cp\u003eTranscription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026amp; Co.\nFifth Avenue New York\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]\u003c/p\u003e\n","\u003cp\u003e45 00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026amp; Co.\nNew York\u003c/p\u003e\n","\u003cp\u003e[Back]\nB. Altman \u0026amp; Co. New York\n60\n25.00\nOver Treasure Trove tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026amp; Co. New York tag \n45.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026amp; Co. New York\n50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026amp; SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag, Sale\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag [$45.00?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026amp; Col. New York\n[Back] Altman Lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026amp; Co. New York\n[Back] Altman lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52A\nM 98\nB. ALTMAN \u0026amp; CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52-A\nB. ALTMAN \u0026amp; CO.\nS 93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nS93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA4 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nW5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52-A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026amp; Co.\nNew York\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026amp; Co.\nNew York\n[R829 written over company name at bottom]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026amp; Bohemian Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNew York\n165.00 [lined through]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Miller \u0026amp; Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026amp; J. Sloane\n47th \u0026amp; 5th Ave\nN. Y. City\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026amp; Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height\u003c/p\u003e","\u003cp\u003eTranscription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026amp; CO.\nPHILADELPHIA\u003c/p\u003e","\u003cp\u003eTranscription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026amp; E. Wakelin\u003c/p\u003e","\u003cp\u003eTranscription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W\u003c/p\u003e","\u003cp\u003eTranscription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9\u003c/p\u003e","\u003cp\u003eTranscription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026amp; Richard\nSibley\nRRM\u003c/p\u003e","\u003cp\u003eTranscription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427\u003c/p\u003e","\u003cp\u003eTranscription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n10679\nGeo. III\n[lion \u0026amp; unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER\u003c/p\u003e","\u003cp\u003eTranscription: \n2002\n$20.00 (b)\nGeorgian\nMA\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R\u003c/p\u003e","\u003cp\u003eTranscription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32\u003c/p\u003e","\u003cp\u003eTranscription: \nS. \u0026amp; G. GUMP CO.\nSAN FRANCISCO, CAL.\u003c/p\u003e\n","\u003cp\u003eAntique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.\u003c/p\u003e\n","\u003cp\u003eS. \u0026amp; G. GUMP COMPANY\u003c/p\u003e","\u003cp\u003eThis series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.\u003c/p\u003e","\u003cp\u003eTranscription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures\u003c/p\u003e\n","\u003cp\u003eThis remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. \u003c/p\u003e\n","\u003cp\u003eAll Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware\u003c/p\u003e\n","\u003cp\u003eFIFTH FLOOR\u003c/p\u003e\n","\u003cp\u003eThalhimers\u003c/p\u003e","\u003cp\u003eTranscription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel\u003c/p\u003e\n","\u003cp\u003ePart of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention\u003c/p\u003e\n","\u003cp\u003eCzarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. \u003c/p\u003e\n","\u003cp\u003eWhen brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026amp; Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]\u003c/p\u003e","\u003cp\u003eThis series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.\u003c/p\u003e","\u003cp\u003eDescription: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".\u003c/p\u003e","\u003cp\u003eDescription: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.\u003c/p\u003e","\u003cp\u003eDescription: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.\u003c/p\u003e","\u003cp\u003eDescription: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.\u003c/p\u003e","\u003cp\u003eTranscription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY\u003c/p\u003e\n","\u003cp\u003eTO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]\u003c/p\u003e\n","\u003cp\u003ePhotographs - Do Not Bend\u003c/p\u003e","\u003cp\u003eDescription: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eDescription: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.\u003c/p\u003e","\u003cp\u003eTranscription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.\u003c/p\u003e\n","\u003cp\u003e1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003e[Hand drawn and numbered outlines of the heads of all the people in the photograph]\u003c/p\u003e\n","\u003cp\u003e14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.\u003c/p\u003e","\u003cp\u003eDescription: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e"]}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8"}},{"id":"virmu_repositories_2_resources_8_c02_c04_c01_c02","type":"Item","attributes":{"title":"\"Linen handkerchief…\"","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c02_c04_c01_c02#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eTranscription: Linen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c02_c04_c01_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_8_c02_c04_c01_c02","ref_ssm":["virmu_repositories_2_resources_8_c02_c04_c01_c02"],"id":"virmu_repositories_2_resources_8_c02_c04_c01_c02","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8_c02_c04_c01","parent_ssi":"virmu_repositories_2_resources_8_c02_c04_c01","parent_ssim":["virmu_repositories_2_resources_8","virmu_repositories_2_resources_8_c02","virmu_repositories_2_resources_8_c02_c04","virmu_repositories_2_resources_8_c02_c04_c01"],"parent_ids_ssim":["virmu_repositories_2_resources_8","virmu_repositories_2_resources_8_c02","virmu_repositories_2_resources_8_c02_c04","virmu_repositories_2_resources_8_c02_c04_c01"],"parent_unittitles_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)","Series 2: Hammer Galleries","Series 2.4: Exhibition Labels","Folder 11"],"parent_unittitles_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)","Series 2: Hammer Galleries","Series 2.4: Exhibition Labels","Folder 11"],"text":["Lillian Thomas Pratt Personal Papers (SC-07)","Series 2: Hammer Galleries","Series 2.4: Exhibition Labels","Folder 11","\"Linen handkerchief…\"","Paper","Hammer Galleries","New York (N.Y.)","English","box SC-07 Box 1","folder 11","Item SC07.02.4.002","American--1","47.20.409","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"title_filing_ssi":"\"Linen handkerchief…\"","title_ssm":["\"Linen handkerchief…\""],"title_tesim":["\"Linen handkerchief…\""],"unitdate_other_ssim":["Oct. 2, 1933"],"normalized_date_ssm":["1933"],"normalized_title_ssm":["\"Linen handkerchief…\""],"component_level_isim":[4],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"physdesc_tesim":["Paper"],"extent_ssm":["1 item"],"extent_tesim":["1 item"],"physfacet_tesim":["Exhibit scripts"],"creator_ssim":["Hammer Galleries"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":608,"parent_access_restrict_tesm":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the VMFA Collections Search website. "],"parent_access_terms_tesm":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"date_range_isim":[1933],"names_ssim":["Hammer Galleries"],"corpname_ssim":["Hammer Galleries"],"geogname_ssim":["New York (N.Y.)"],"geogname_ssm":["New York (N.Y.)"],"places_ssim":["New York (N.Y.)"],"acqinfo_ssim":["Gift of Lillian Thomas Pratt."],"language_ssim":["English"],"containers_ssim":["box SC-07 Box 1","folder 11","Item SC07.02.4.002"],"bioghist_html_tesm":["\u003cp\u003eAmerican--1\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["American--1"],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003e47.20.409\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["47.20.409"],"scopecontent_html_tesm":["\u003cp\u003eTranscription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace."],"userestrict_html_tesm":["\u003cp\u003eNo Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["No Copyright - United States: http://rightsstatements.org/page/NoC-US/1.0/?language=en"],"_nest_path_":"/components#1/components#3/components#0/components#1","timestamp":"2026-05-21T03:30:55.910Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_8","ead_ssi":"virmu_repositories_2_resources_8","_root_":"virmu_repositories_2_resources_8","_nest_parent_":"virmu_repositories_2_resources_8","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_8.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/8","title_filing_ssi":"Pratt, Lillian Thomas (SC-07)","title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"unitdate_ssm":["1901-1947"],"unitdate_inclusive_ssm":["1901-1947"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-07","/repositories/2/resources/8"],"text":["SC-07","/repositories/2/resources/8","Lillian Thomas Pratt Personal Papers (SC-07)","Art objects, Russian","Easter eggs","Fabergé eggs","The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . ","The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated","The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)","Two months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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can--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","American--1","The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.","47.20.412, 47.20.333, 47.20.312","47.20.14, 47.20.284, 47.20.338","47.20.30, 47.20.26, 47.20.28, 47.20.214, 47.20.341, 47.20.363, 47.20.404, 47.20.309","47.20.167, 47.20.72, 47.20.287, 47.20.166, 47.20.346, 47.20.296, 47.20.90, 47.20.95, 47.20.420, 47.20.421, 47.20.85, 47.20.94, 47.20.77, 47.20.74, 47.20.78, 47.20.75, 47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62, 47.20.84, 47.20.86, 47.20.82, 47.20.91, 47.20.87, 47.20.115, 47.20.63, 47.20.83, 47.20.54, 47.20.88, 47.20.130, 47.20.93, 47.20.59, 47.20.56, 47.20.58, 47.20.92, 47.20.96","47.20.4, 47.20.71, 47.20.81, 47.20.70, 47.20.55, 47.20.80, 47.20.76, 47.20.332, 47.20.336, 47.20.397, 47.20.140, 47.20.342, 47.20.281, 47.20.304, 47.20.157","47.20.416, 47.20.349, 47.20.317, 47.20.197","47.20.314, 47.20.313, 47.20.322, 47.20.290, 47.20.251, 47.20.12, 47.20.319, 47.20.184, 47.20.169, 47.20.358, 47.20.350, 47.20.183, 47.20.187, 47.20.141, 47.20.162, 47.20.417, 47.20.329","47.20.173, 47.20.195","47.20.173, 47.20.195","47.20.31, 47.20.291, 47.20.193, 47.20.275, 47.20.181, 47.20.164, 47.20.168, 47.20.27, 47.20.182, 47.20.177, 47.20.196, 47.20.396, 47.20.315, 47.20.337, 47.20.413, 47.20.320","47.20.263, 47.20.353","47.20.310, 47.20.339, 47.20.19, 47.20.282, 47.20.286, 47.20.45, 47.20.348, 47.20.142, 47.20.143, 47.20.128, 47.20.185, 47.20.190, 47.20.180, 47.20.276, 47.20.127","47.20.255, 47.20.294, 47.20.314, 47.20.356, 47.20.414, 47.20.299, 47.20.210,","47.20.22, 47.20.13, 47.20.151, 47.20.279, 47.20.191, 47.20.252, 47.20.7, 47.20.21","47.20.51, 47.20.64, 47.20.493, 47.20.52, 47.20.126, 47.20.278, 47.20.208","47.20.29, 47.20.17","47.20.221, 47.20.265, 47.20.308","47.20.240, 47.20.257, 47.20.256","47.20.306","47.20.292, 47.20.288, 47.20.267","47.20.259, 47.20.311, 47.20.138","47.20.20, 47.20.297, 47.20.351, 47.20.163, 47.20.144, 47.20.220","47.20.215, 47.20.394","47.20.374, 47.20.216, 47.20.110, 47.20.136, 47.20.113, 47.20.118, 47.20.112, 47.20.122, 47.20.119, 47.20.114, 27.40.120, 47.20.125, 47.20.121, 47.20.117","47.20.374, 47.20.216, 47.20.110, 47.20.136, 47.20.113, 47.20.118, 47.20.112, 47.20.122, 47.20.119, 47.20.114, 27.40.120, 47.20.125, 47.20.121, 47.20.117","47.20.131","47.20.13","47.20.33","47.20.33","47.20.248, 47.20.249, 47.20.132, 47.20.30, 47.20.403, 47.20.402","47.20.373","47.20.209, 47.20.334, 47.20.318, 47.20.102, 47.20.100, 47.20.101","47.20.343, 47.20.344, 47.20.340, 47.20.46, 47.20.148","47.20.495, 47.20.273","47.20.233, 47.20.395","47.20.16","47.20.13","47.20.154, 47.20.205","47.20.379","47.20.383","47.20.310","47.20.339","47.20.19","47.20.282","47.20.286","47.20.45","47.20.284","47.20.312","47.20.338","47.20.333","47.20.412","47.20.14","47.20.13","47.20.177","47.20.196","47.20.168","47.20.181","47.20.193","47.20.164","47.20.182","47.20.169","47.20.27","47.20.275","47.20.291","47.20.320","47.20.337","47.20.413","47.20.31","47.20.315","47.20.396","47.20.348","47.20.142","47.20.143","47.20.128","47.20.279","47.20.185","47.20.190","47.20.180","47.20.276","47.20.127","47.20.131","47.20.167","47.20.139","47.20.312","47.20.312","47.20.333","47.20.412","47.20.39","47.20.14","47.20.284","47.20.338","47.20.30","47.20.26","47.20.28","47.20.214","47.20.404","47.20.386","47.20.145","47.20.287","47.20.72","47.20.166","47.20.346","47.20.296","47.20.90","47.20.37","47.20.95, 47.20.85, 47.20.94, 47.20.77, 47.20.59","47.20.74, 47.20.78, 47.20.75, 47.20.63, 47.20.83","47.20.61, 47.20.73, 47.20.89, 47.20.79, 47.20.62","47.20.84, 47.20.86, 47.20.82, 47.20.91, 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47.20.117","47.20.288","47.20.292","47.20.383.1-6","47.20.343","47.20.273","47.20.46, 47.20.148","47.20.495","47.20.344","47.20.394","47.20.215","47.20.209","47.20.373","47.20.131","47.20.334","47.20.102","47.20.100","47.20.101","47.20.318","47.20.132, 47.20.30, 47.20.403, 47.20.402","47.20.306","47.20.351","47.20.270","47.20.18, 47.20.8","47.20.323","47.20.345","47.20.10","47.20.18","47.20.419","47.20.355","47.20.392","47.20.40","47.20.357","47.20.8","47.20.384","47.20.9","47.20.427","47.20.382","47.20.419","47.20.1","47.20.2","47.20.2","47.20.11","47.20.391","47.20.389","47.20.393","47.20.378","47.20.25,47.20.419, 47.20.10, 47.20.11","47.20.392","47.20.398","47.20.381","47.20.419","47.20.355","47.20.391","47.20.9a","47.20.384.1-13","47.20.378","47.20.427","47.20.382","47.20.18","47.20.8","47.20.409","47.20.398","47.20.405","47.20.357","47.20.392","47.20.390","47.20.388.1, 47.20.388.2","47.20.36","47.20.389","47.20.393","47.20.393","47.20.387","47.20.3","47.20.425","47.20.303, 47.20.367","47.20.426","47.20.146","47.20.5","47.20.6","47.20.40","47.20.345","47.20.222","47.20.213","47.20.69","47.20.137","47.20.272","47.20.38","47.20.179","47.20.277a-b","47.20.330","47.20.326","47.20.53","47.20.305","47.20.323","47.20.376.1-42","47.20.271","47.20.269","47.20.244","47.20.268","47.20.152","47.20.15","47.20.165","47.20.327","47.20.328","47.20.41","47.20.293","47.20.47","47.20.48","47.20.49","47.20.50","47.20.65","47.20.66","47.20.67","47.20.68","47.20.98","47.20.250","47.20.161","47.20.325","47.20.227","47.20.235","47.20.231","47.20.211","47.20.207","47.20.202","47.20.324","47.20.228","47.20.241, 47.20.242","47.20.170","47.20.203","47.20.225","47.20.217","47.20.218","47.20.221","47.20.224","47.20.230","47.20.229","47.20.232","47.20.261","47.20.260","47.20.155","47.20.60","47.20.171","47.20.239","47.20.244","47.20.247","47.20.262","47.20.266","47.20.300","47.20.133","47.20.134","47.20.289","47.20.57","47.20.99","47.20.111","47.20.116","47.20.123","47.20.124","47.20.385","47.20.301","47.20.156","47.20.172","47.20.186","47.20.246","47.20.199","47.20.198","47.20.178","47.20.285","47.20.309","47.20.234","47.20.226","47.20.223","47.20.220","47.20.219","47.20.212","47.20.245","47.20.109","47.20.43","47.20.238","47.20.103","47.20.108","47.20.354","47.20.375","47.20.335","47.20.331","47.20.321","47.20.298","47.20.254","47.20.105","47.20.104","47.20.106","47.20.107","47.20.135","47.20.359, 47.20.365","47.20.35","42.19.1","47.20.1, 47.20.2","47.20.11","47.20.25","47.20.10","47.20.419","47.20.32","47.20.32","47.20.32","47.20.32","47.20.32","47.20.357","47.20.409","47.20.303, 47.20.367","47.20.387","47.20.3","47.20.425","47.20.34","47.20.34","47.20.36, 47.20.32, 47.20.34","47.20.17","47.20.17","47.20.17","47.20.348","47.20.21","47.20.21","47.20.176","47.20.36","47.20.32","11061-1, 47.20.33, 47.20.34","11912-2, 47.20.34, 47.20.35, 47.20.32","11912-3, 47.20.34, 47.20.44, 47.20.148","1651, 47.20.235, 47.20.217, 47.20.222","4471, 47.20.214","490M, 47.20.32, 47.20.33","490M-6, 47.20.32","491M-19, 47.20.36, 47.20.231","491M-29, 47.20.148, 47.20.46","544M, 47.20.222, 47.20.217","7852M-10, 47.20.126","7852M-12, 47.20.34, 47.20.17, 47.20.18","7853M-4, 47.20.34, 47.20.32, 47.20.148, 47.20.46","The collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.","Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918","English \n.    "],"unitid_tesim":["SC-07","/repositories/2/resources/8"],"normalized_title_ssm":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_title_tesim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"collection_ssim":["Lillian Thomas Pratt Personal Papers (SC-07)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"creator_ssm":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creator_persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray"],"creator_corpname_ssim":["Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"creators_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"access_subjects_ssim":["Art objects, Russian","Easter eggs","Fabergé eggs"],"access_subjects_ssm":["Art objects, Russian","Easter eggs","Fabergé eggs"],"has_online_content_ssim":["false"],"extent_ssm":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"extent_tesim":["1.5 Linear Feet 2 boxes (15 folders), 1 oversize item and 1 binder"],"physfacet_tesim":["723 items"],"date_range_isim":[1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e\n","\u003cp\u003eDigitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the \u003ca href=\"https://www.vmfa.museum/archives/lillian-thomas-pratt-personal-papers-sc-07/\"\u003eVMFA Collections Search website\u003c/a\u003e. \u003c/p\u003e"],"accessrestrict_heading_ssm":["Access"],"accessrestrict_tesim":["The collection is open for research.","Digitization of the collection has been made possible by the National Endowment for the Humanities. The digital collection can be accessed through the  VMFA Collections Search website . "],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eSchaffer Collection, 1934-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eHammer Galleries, 1933-1945, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eEstate, 1932-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eClippings, 1932-1937, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eMuseum Records, 1936-1947, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into five series, and items are generally arranged chronologically within each series. Price tags are arranged numerically by item number. Items with no date are placed at the end at each series.","Series 1 Schaffer Collection, 1934-1947, undated Series 2 Hammer Galleries, 1933-1945, undated Series 3 Estate, 1932-1947, undated Series 4 Clippings, 1932-1937, undated Series 5 Museum Records, 1936-1947, undated"],"bibliography_html_tesm":["\u003cbibref\u003eThe Fall of the Romanoffs: How the Ex-Empress \u0026amp; Rasputine Caused the Russian Revolution, 1917\u003c/bibref\u003e","\u003cbibref\u003eConfessions of the Czarina, 1918\u003c/bibref\u003e","\u003cbibref\u003eMother Dear: The Empress Marie of Russia and Her Times, 1926\u003c/bibref\u003e","\u003cbibref\u003eThe Tragic Bride: The Story of the Empress Alexandra of Russia, 1927\u003c/bibref\u003e","\u003cbibref\u003eThe Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Intimate Life of the Last Tzarina, 1928\u003c/bibref\u003e","\u003cbibref\u003eThe Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931\u003c/bibref\u003e","\u003cbibref\u003eRussia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931\u003c/bibref\u003e","\u003cbibref\u003eEducation of a Princess: A Memoir, 1931\u003c/bibref\u003e","\u003cbibref\u003eA Princess in Exile, 1932\u003c/bibref\u003e","\u003cbibref\u003eTwice Seven, 1937\u003c/bibref\u003e","\u003cbibref\u003eRussian Imperial Treasures: Collection of Lillian T. Pratt, undated\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940\u003c/bibref\u003e","\u003cbibref\u003eHandbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960\u003c/bibref\u003e","\u003cbibref\u003eFabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976\u003c/bibref\u003e","\u003cbibref\u003eFabergé: Virginia Museum of Fine Arts, 1995\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed: At the Virginia Museum of Fine Arts, 2011\u003c/bibref\u003e","\u003cbibref\u003eLillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996\u003c/bibref\u003e","\u003cbibref\u003eSelections from the Lillian Thomas Pratt Collection of Jewels, 1947\u003c/bibref\u003e","\u003cbibref\u003e12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1949\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1950\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1951\u003c/bibref\u003e","\u003cbibref\u003eImperial Russian Easter Eggs, 1952\u003c/bibref\u003e","\u003cbibref\u003eJewelry by Fabergé, 1953\u003c/bibref\u003e","\u003cbibref\u003eJewels by Fabergé, 1954\u003c/bibref\u003e","\u003cbibref\u003eFabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996\u003c/bibref\u003e","\u003cbibref\u003eFabergé Revealed, 2011\u003c/bibref\u003e","\u003cbibref\u003eVMFA Collections: Decorative Arts: Metalwork: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVMFA Donors: Pratt, John Lee and Lillian Thomas\u003c/bibref\u003e","\u003cbibref\u003eVMFA Gallery Design: Fabergé\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)\u003c/bibref\u003e","\u003cbibref\u003eVirginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - VMFA Library: Pratt's Personal Library","Related Materials - VMFA Library: Catalogs","Related Materials - VMFA Library: Video","Related Materials - VMFA Library: Exhibition Files","Related Materials - VMFA Library: Subject Files","Related Materials - Library of Virginia"],"bibliography_tesim":["The Fall of the Romanoffs: How the Ex-Empress \u0026 Rasputine Caused the Russian Revolution, 1917","Confessions of the Czarina, 1918","Mother Dear: The Empress Marie of Russia and Her Times, 1926","The Tragic Bride: The Story of the Empress Alexandra of Russia, 1927","The Life and Tragedy of Alexandra Feodorovna, Empress of Russia, 1928","The Intimate Life of the Last Tzarina, 1928","The Real Romanovs, as Revealed by the Late Czar's Physician and His Son, 1931","Russia - My Home: An Intimate Record of Personal Experiences Before, During and After the Bolshevist Revolution, 1931","Education of a Princess: A Memoir, 1931","A Princess in Exile, 1932","Twice Seven, 1937","Russian Imperial Treasures: Collection of Lillian T. Pratt, undated","Imperial Russian Easter Eggs Presented by Tsar Nikolai II, 1940","Handbook of the Lillian Thomas Pratt Collection: Russian Imperial Jewels, 1960","Fabergé: A Catalog of the Lillian Thomas Pratt Collection of Russian Imperial Jewels, 1976","Fabergé: Virginia Museum of Fine Arts, 1995","Fabergé Revealed: At the Virginia Museum of Fine Arts, 2011","Lillian Thomas Pratt's Fabergé: Shopping, Collecting, Remembering, 1996","Selections from the Lillian Thomas Pratt Collection of Jewels, 1947","12th Anniversary Exhibition: The Pratt Collection of Jewels, 1948","Imperial Russian Easter Eggs, 1949","Imperial Russian Easter Eggs, 1950","Imperial Russian Easter Eggs, 1951","Imperial Russian Easter Eggs, 1952","Jewelry by Fabergé, 1953","Jewels by Fabergé, 1954","Fabergé in America and the Lillian Thomas Pratt Collection of Fabergé, 1996","Fabergé Revealed, 2011","VMFA Collections: Decorative Arts: Metalwork: Fabergé","VMFA Donors: Pratt, John Lee and Lillian Thomas","VMFA Gallery Design: Fabergé","Virginia Museum of Fine Arts Director's Correspondence, 1936-1976 (Coll. No. 33863 and 44067)","Virginia Museum of Fine Arts Exhibition Files, 1936-1992 (Coll No. 31633, 32958, 33041, 33160, 34679, 36342, 36957 and 37636)"],"bioghist_html_tesm":["\u003cp\u003eTwo months after Lillian Thomas Pratt's death in June 1947, her stunning and expansive collection of Fabergé artworks were unexpectedly bequeathed to the Virginia Museum of Fine Arts. Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.\u003c/p\u003e\n","\u003cp\u003ePratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"http://www.pandora.vmfa.museum/uhtbin/cgisirsi.exe/x/0/0/57/5/3?searchdata1=6519%7bCKEY%7d\u0026amp;searchfield1=GENERAL%5eSUBJECT%5eGENERAL%5e%5e\u0026amp;user_id=WEBSERVER\"\u003eFabergé: Virginia Museum of Fine 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Thought to have been born in 1876 in Philadelphia, details of Pratt's life still remain sketchy and limited. By 1900, she was working as a stenographer at the Puget Sound Flouring Mill, and in 1917, married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. By 1931, they had settled at Chatham Manor in John's native Virginia, and Pratt spent over a decade amassing a collection of over 500 items, eighty percent of which is Russian decorative art, mainly Fabergé.","Pratt began collecting while accompanying her husband on business trips to New York City, shopping in her spare time, and possibly becoming enchanted with the Hammer Galleries' \"Russian Imperial Exhibit\" at Lord and Taylor in the early 1930s. While the total amount she spent during that time is unknown, she spent $100,000 alone at New York City's Schaffer Collection. She simultaneously purchased items, including four of her five imperial Easter eggs, from the Hammer Galleries. Her collection includes not only the finest imperial eggs, but also miniature eggs, jewelry, framed photographs, boxes, handles, flowers, and animal figures, among many other types of objects. Whatever her collecting may have been (besides simply furnishing her new home), her fascination with Russian royalty was enduring, and has been shared with museum visitors for over 60 years.","Source:  Fabergé: Virginia Museum of Fine 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collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. In January 2015, an additional collection of original documents were transferred from the Curatorial files to the Pratt collection.\u003c/p\u003e"],"custodhist_heading_ssm":["Provenance"],"custodhist_tesim":["The collection was transferred over time to the VMFA Library in the 2000s by museum staff members Dr. David Park Curry, Curator of the Fabergé collection, David Bradley, Foundation Director, and Richard Woodward, Deputy Director for Architecture and Design. The estate tax information was given to Woodward from the Honorable John D. Butzner, Jr. in the 1970s. The bulk of the collection was accessioned into the VMFA Archives' collection in February 2011. 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Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Russian Imperial Treasures\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eHammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eThalhimer's, Richmond\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eWide World Photos, Inc. (NY-33541), Copyright 1937.\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eFound in file for 47.20.376\u003c/p\u003e\n","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e","\u003cp\u003eDigitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.\u003c/p\u003e"],"odd_heading_ssm":["General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","General","Ge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Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, A La Vieille Russie, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, A La Vieille Russie","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures, Rockefeller Center","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Schaffer Collection, Russian Imperial Art Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Exhibit, E. 52nd Street","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Russian Imperial Treasures","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Neue Palais Darmstadt Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Wolfsgarten near Darmstadt Hesse\" and \"Windsor Palace?\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Winter Palace\" and \"Anichkov Palace\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Hammer Collection, Hammer Galleries, Fifth Avenue. Annotated in pencil on the back with \"Kranichstein Hesse\"","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Thalhimer's, Richmond","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Wide World Photos, Inc. (NY-33541), Copyright 1937.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Found in file for 47.20.376","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities.","Digitization of the Lillian Thomas Pratt Archives has been made possible by the National Endowment for the Humanities."],"prefercite_html_tesm":["\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.\u003c/p\u003e","\u003cp\u003eLillian Thomas Pratt Personal Papers (SC-07). 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VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","Lillian Thomas Pratt Personal Papers (SC-07). VMFA Archives, Richmond, Virginia.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives.","VMFA Photo Archives."],"processinfo_html_tesm":["\u003cp\u003eA large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. A complete list of these publications is available from the Archivist.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Note"],"processinfo_tesim":["A large number of publications (almost entirely sales and exhibition catalogs) were interfiled into this collection over the years. None of the publications indicated that they were actually Pratt's personal copies, and almost all had been stamped by the VMFA Library or other departments. Therefore, all of the publications were removed and added to the VMFA Library's holdings during processing. 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The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.","This series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.","The invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.","The series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","My dear Mrs. Pratt,","Please forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. ","I have received your note and also the book, and am sorry that you have had this unpleasantness.","I hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, ","Yours very sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935","Mrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia","My dear Mrs. Pratt,","I am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.","I will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.","Or maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.","I am sorry you had to be annoyed paying","[page 2]","the freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.","With best wishes and kindest regards, in which Mrs. Schaffer joins me, I am","Yours most sincerely, \nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936","Dear Mrs. Pratt,","Thank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. ","Sorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.","I have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. ","On second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see ","(over please)","[page 2]","your things, and at the same time I could measure the egg.","I think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. ","The heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. ","Hoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,","Sincerely yours,\nAlexanders S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","Dear Mrs. Pratt,","Just a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. ","So far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.","Believe it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. ","With kindest regards and best wishes,","Cordially,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","Alexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. ","I would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. ","Regarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. ","I could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for ","[page 2]","this, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. ","With kindest regards and best wishes, and love from the family, ","Cordially,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.","I am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.","I am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. ","With kindest regards and best wishes,","Sincerely yours,\nAlexander S. Schaffer [signed]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","It was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.","If I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.","Mrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. ","With kindest regards and wishes for your speedy recovery,","Sincerely,\nAlexander S. Schaffer [signed]","Transcription: \n[In process]","Transcription: ","Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt, ","It is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. ","I am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. ","I am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.","Trusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,","Sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","September 1, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your letter and check which I have received today.","I was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.","The raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.","However, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.","I am looking forward to seeing you soon.  With kindest regards and best wishes, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","October 7, 1937","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","We are very much relieved that you have found the box.  I would have felt miserable otherwise.","I am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.","I hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.","Trusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am","Yours sincerely,\nAlexander S. Schaffer [signed]","P.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","May 11, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia ","Dear Mrs. Pratt,","I am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.","I am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.","I sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.","Of course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.","Looking forward to the pleasure of seeing you soon, with kindest regards, I am","Very sincerely yours,\nAlexander S. Schaffer [signed]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: Telephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","August 1, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","I was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. ","It is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. ","We are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.","With kindest regards and love from the family,","Sincerely,\nAlexander S. Schaffer \n[signature]","ASS:RS","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","November 2, 1938","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,","Thank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.","Have you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.","Paul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.","I hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.","With kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 15, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","I have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.","I am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.","The silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.","With kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,","Sincerely,\nAlexander S. Schaffer [signed]","ASS:RS\nP. S.  The parchment just arrived.  Thank you.","Transcription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"","[double-headed eagle emblem]","Russian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York","December 30, 1941","Mrs. John L. Pratt\nBox 118\nFredericksburg, Virginia","Dear Mrs. Pratt,","Thank you for your kind letter and check on account.","We have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!","We both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.","We do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).","With kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,","Sincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:RS","Transcription: \n[In process]","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","\nNovember 21, 1945","Mrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","Please forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.","I am enclosing a receipt for them.  They all arrived in good condition including the flower.","Regarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.","I am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.","With kindest regards and best wishes, I am,\nCordially yours,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ENC.\nASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"","[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"","A La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889","June 4, 1946","Mrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia","Dear Mrs. Pratt:","The man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.","He claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.","Please do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.","With kindest regards and best wishes, I am,\nSincerely,","Alexander S. Schaffer [signed]\nAlexander S. Schaffer","ASS:GMD","Cable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York","February 3, 1942","Dear Mrs. Pratt,","Many thanks for your very kind letter and check on account.","Well, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.","Alex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.","The children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.","I hope that we'll be seeing you soon.","Peter and Paul send their love, as do I.","Sincerely,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \nTelephone Circle 7-0747  ","Cable Address \"Russianart\"","Alexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.","April 24, 1942","Dear Mrs. Pratt,","Thank you very much for your check and letter.  I do appreciate it.","My husband just went away for a few days to recuperate, as he is still not up to par.","Yes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.","Love from us all,","Cordially,\nRay Schaffer [signed]","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","July 5, 1942","Dear Mrs. Pratt,","Many thanks for your nice letter and check on account.","We just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!","The children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.","I hope you are taking good care of yourself and keeping well.","Love from us all,","Ray Schaffer","Transcription: \n[In process]","Transcription: \n[Handwritten letter]","Copy","Dec. 4th '45","My dear Mrs. Schaffer – ","Herewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.","Tell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.","Kindest regards, Sincerely yours,","(Signed) Lillian T. Pratt","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00","Transcription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.","Transcription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00","Transcription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"","Transcription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00","Transcription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00","Transcription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00","Transcription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00","Transcription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00","Transcription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00","Transcription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00","Transcription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00","Transcription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00","Transcription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00","Transcription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00","Transcription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00","Transcription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00","Transcription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00","Transcription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00","Transcription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00","Transcription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00","Transcription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten","Transcription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".","Transcription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00","Transcription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00","Transcription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00","Transcription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00","Transcription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00","Transcription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00","Transcription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00","Transcription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00","Transcription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00","Transcription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00","Transcription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00","Transcription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00","Transcription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O","Alexander S. Schaffe [ripped]\n15 West 50th Street [ripped]","Center Publications, Inc. \nNEW YORK N Y","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934","A most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935","#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.","Made by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.","Made by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. ","These eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.","Mrs. John L. Pratt.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","#2443","Golden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.","This very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.","MRS. JOHN L. PRATT","November, 1945","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK","November, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.","Mrs. John L. Pratt","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK","#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.","MRS. JOHN. L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026 Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.","MRS. JOHN L. PRATT","Transcription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures","GOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.","MRS. JOHN L. PRATT","This series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).","Price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.","Finally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.","The series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. ","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.","\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.","From the Collection in the Winter Palace, St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg, Virginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg \nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809","Set of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.","Mrs. John L. Pratt\nHotel McAlpin\nNew York, New York","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.","From a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528","An icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111","A jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.","It is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019","A jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.","The box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148","A brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.","It was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.","From the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C","A porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.","The Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).","\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT ","Article No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.","From the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.","Mrs. John L. Pratt\nJanuary 31, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62","Rare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.","From the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJune 21st, 1935.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMarch 6th, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.","Mrs. John L. Pratt\nEaster, 1936.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. ","Mrs. John L. Pratt\nAugust 17, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle GT-1530/2","Gold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.","It was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.","From the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 9th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n ","Transcription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nNovember 12th, 1936","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha","Mrs. John L. Pratt\nJanuary 29th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nFebruary 8th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.","Mrs. John L. Pratt\nMay 11th, 1937.","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.","Mrs. John L. Pratt\nOctober 2nd, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.","Lillian T. Pratt\nChristmas, 1937","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.","Mrs. J. L. Pratt\nJanuary 27, 1938","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939","FROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026 Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK","LOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945","Transcription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"","Transcription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.","Description: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.","Transcription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.","Transcription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.","Transcription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.","Transcription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677","Transcription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.","Transcription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136","Transcription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -","Transcription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39","This series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.","The series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \n[In process]","Transcription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 149322","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nSpecial Order\nDept. 93\nOrder No. 159619","THIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026 CO.","Transcription: \nB. ALTMAN \u0026 CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00","Transcription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026 Co.\nFifth Avenue New York","Transcription: \nB. Altman \u0026 Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]","45 00","Transcription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026 Co.\nNew York","[Back]\nB. Altman \u0026 Co. New York\n60\n25.00\nOver Treasure Trove tag","Transcription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026 Co. New York tag \n45.00","Transcription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026 Co. New York\n50.00","Transcription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026 SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag no new price sticker","Transcription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag, Sale","Transcription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026 Co. New York\n[Back] Treasure Trove tag [$45.00?]","Transcription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026 Col. New York\n[Back] Altman Lamps tag","Transcription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026 Co. New York\n[Back] Altman lamps tag","Transcription: \nT 52\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00","Transcription: \nT 52A\nM 98\nB. ALTMAN \u0026 CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R","Transcription: \nT 52-A\nB. ALTMAN \u0026 CO.\nS 93C\n191\n16\"\n11.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nS93C\n191\n16\"\n11.00","Transcription: \nT52\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50","Transcription: \nT52\nA4 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nA5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00","Transcription: \nT52\nW5 93\nB. ALTMAN \u0026 CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00","Transcription: \nT52\nA 93\nB. ALTMAN \u0026 CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52\nR93\nB. ALTMAN \u0026 CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00","Transcription: \nT52-A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nT-52A\nB. ALTMAN \u0026 CO.\nC3 93\n896 TL\nD6199\nPrice 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B","Transcription: \n[Front]\nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00","Transcription: \nB. Altman \u0026 Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00","Transcription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove","Transcription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026 Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove","Transcription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026 Co.\nNew York\n[Back]\nTreasure Trove","Transcription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026 Co.\nNew York\n[R829 written over company name at bottom]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026 Bohemian Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan","Transcription: \nB. ALTMAN \u0026 CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00","Transcription: \nB. Altman \u0026 Co.\nNew York\n165.00 [lined through]","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00","Transcription: \n[Front] B. Altman \u0026 Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00","Transcription: \n[Front] Miller \u0026 Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026 J. Sloane\n47th \u0026 5th Ave\nN. Y. City","Transcription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026 Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height","Transcription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026 CO.\nPHILADELPHIA","Transcription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026 E. Wakelin","Transcription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.","Transcription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S","Transcription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K","Transcription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]","Transcription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S","Transcription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K","Transcription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M","Transcription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P","Transcription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T","Transcription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W","Transcription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9","Transcription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026 Richard\nSibley\nRRM","Transcription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG","Transcription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427","Transcription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850","Transcription: \n[Front]\n10679\nGeo. III\n[lion \u0026 unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"","Transcription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00","Transcription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER","Transcription: \n2002\n$20.00 (b)\nGeorgian\nMA","Transcription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R","Transcription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32","Transcription: \nS. \u0026 G. GUMP CO.\nSAN FRANCISCO, CAL.","Antique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.","S. \u0026 G. GUMP COMPANY","This series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.","Transcription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures","This remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. ","All Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware","FIFTH FLOOR","Thalhimers","Transcription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel","Part of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention","Czarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. ","When brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]","Transcription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026 Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]","Transcription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]","Transcription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]","This series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.","Description: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.","Description: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".","Description: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.","Description: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.","Description: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.","Description: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.","Description: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.","Description: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.","Transcription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY","TO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]","Photographs - Do Not Bend","Description: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.","Transcription: \n[In process]","Transcription: \n[In process]","Description: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.","Description: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.","Transcription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.","1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.","[Hand drawn and numbered outlines of the heads of all the people in the photograph]","14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.","Description: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.","Description: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.","Description: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.","Description: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.","Description: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.","Description: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.","Description: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Digitized content is licensed for use under a \u003ca href=\"https://creativecommons.org/licenses/by-nc/4.0/\"\u003eCreative Commons Attribution Non-Commercial 4.0 International License\u003c/a\u003e. The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: http://rightsstatements.org/page/InC/1.0/?language=en\u003c/p\u003e","\u003cp\u003eIn Copyright: 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Digitized content is licensed for use under a  Creative Commons Attribution Non-Commercial 4.0 International License . The only exception are the letters written by Alexander and Ray Schaffer, in which the Schaffer family retains copyright ownership. Transmission or reproduction of other materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en","In Copyright: 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The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. ","In Copyright: http://rightsstatements.org/page/InC/1.0/?language=en. The VMFA owns all legal rights to these images, including any available copyrights, but the content is licensed for use under a Creative Commons Attribution Non-Commercial 4.0 International License. "],"abstract_html_tesm":["\u003cabstract id=\"aspace_fb5f9a7488efeca094913bc14bf01383\"\u003eThe collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer.\u003c/abstract\u003e"],"abstract_tesim":["The collection documents the formation of the Lillian Thomas Pratt Collection of Fabergé decorative artworks at the Virginia Museum of Fine Arts. Bequeathed to the museum upon her death in 1947, Pratt's Fabergé collection consistently remains one of the highlights of the museum's permanent collection. Pratt purchased most of her Fabergé collection from the Schaffer Collection and Hammer Galleries, both of New York City, in the 1930s and 1940s. Comprised of correspondence, invoices, price tags, and detailed item descriptions, this collection illuminates Pratt's mind as a collector, as well as her relationship with one of her dealers, Alexander Schaffer."],"names_coll_ssim":["Fabergé (Firm)","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections"],"names_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget","Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"corpname_ssim":["Virginia Museum of Fine Arts Archives","Schaffer Collection","A La Vieille Russie (Firm)","Hammer Galleries","Virginia Museum of Fine Arts","Fabergé (Firm)","United States. Internal Revenue Service","B. Altman and Co.","Miller and Rhoads","Lord and Taylor","J.E. Caldwell and Co.","Parker and Wakelin (Firm)","James McCutcheon and Co.","S. and G. Gump","Richmond news leader","Richmond times-dispatch","New York post","New York Herald Tribune (Firm)","New York sun","World Wide Photos, Inc.","Akron Studios","Artvue","Eneberettiget"],"persname_ssim":["Pratt, Lillian Thomas, 1876?","Schaffer, Alexander S.","Schaffer, Ray","Fabergé, Peter Carl, 1846-1920","Pratt, Lillian Thomas, 1876? -- Art collections","Constance Harriet Stuart Milnes Gaskell, Lady, 1885-1964","Virginia Clarke Taylor","Fulmer, Rosamond","Anna Aleksandrovna Vyrubova, 1884-1964","Alexandra, Empress, consort of Nicholas I, Emperor of Russia, 1798-1860","Nicholas, Emperor of Russia, II, 1868-1918"],"language_ssim":["English \n.    "],"total_component_count_is":762,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T03:30:55.910Z","scopecontent_html_tesm":["\u003cp\u003eThe collection's inclusive dates are 1901-1947, with the bulk of the material dating from 1933-1945. The collection is comprised of correspondence, invoices, price tags, item descriptions, exhibition labels, estate tax information and inventories, newspaper clippings, drawings and photographs.\u003c/p\u003e","\u003cp\u003eThis series is comprised of correspondence, invoices, price tags, and item descriptions that detail the purchases Pratt made from the Schaffer collection in the 1930s and 1940s. Correspondence between Alexander S. Schaffer, his wife Ray Schaffer, and Pratt discuss sales, payments, display cabinets, family matters, and books and articles he sent to Pratt about Russian history, war, and family matters. After 1944, some of the correspondence, invoices and item descriptions came from A La Vieille Russie, where Schaffer continued to deal in Russian art and antiquities after closing his own shop.\u003c/p\u003e\n","\u003cp\u003eThe invoices are often annotated with check numbers as balances were paid off, and dates given often refer to the handwritten notes on the invoice detailing payment history. Similarly, price tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and often the date purchased. Many of the Schaffer descriptions are not dated, and while most of them can be cross-referenced with dates on the invoices, Schaffer often invoiced Pratt much later than the original purchase date, and in some cases, many years later. Finally, most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 1.1: Alexander Schaffer Correspondence, 1934-1947; Series 1.2: Ray Schaffer Correspondence, 1937-1947; Series 1.3: Invoices, 1934-1945, undated; Series 1.4: Price Tags, undated; Series 1.5: Item Descriptions, 1934-1945, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nApril 14, 1934\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for the delay in answering your kind letter of the 12th, but I was trying to trace the cause of wrong delivery, as I note that the envelope was properly addressed by you. The Mr. Schaeffer in the building should have indeed had the courtesy to forward it to me. \u003c/p\u003e\n","\u003cp\u003eI have received your note and also the book, and am sorry that you have had this unpleasantness.\u003c/p\u003e\n","\u003cp\u003eI hope that my letter finds you in the best of health, and remain, with best wishes, and kindest personal regards, in which Mrs. Schaffer joins me, \u003c/p\u003e\n","\u003cp\u003eYours very sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n36 West 50th Street\nRockefeller Center\nNew York\nNovember 19, 1935\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\n\"Chatham\" Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am most disappointed to hear that the cabinet is not the size that you should have. It is a pity that all your lovely objects could not be displayed without being crowded.\u003c/p\u003e\n","\u003cp\u003eI will try my very best to get another cabinet for you, the size you want, and exchange it for the one you have now. Of course I cannot tell just how soon I could get one, but in the meantime you can use the one you have.\u003c/p\u003e\n","\u003cp\u003eOr maybe you could find room for another cabinet which would give you a chance to display all of your lovely things without crowding them, regardless of their size. This would really be the best solution.\u003c/p\u003e\n","\u003cp\u003eI am sorry you had to be annoyed paying\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethe freight for the cabinet. I gave specific instructions to send it prepaid. I have also spoken to them about packing, and I am only glad that at least it arrived safely. It is so hard to make people understand sometimes, or have them do what you want them to do.\u003c/p\u003e\n","\u003cp\u003eWith best wishes and kindest regards, in which Mrs. Schaffer joins me, I am\u003c/p\u003e\n","\u003cp\u003eYours most sincerely, \nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 3, 1936\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your check on account and your kind inquiry about Mrs. Schaffer. She is feeling fine and is at the seashore at the present. I have given her your regards and she wishes to be remembered to you. She is getting along very nicely, but of course is anxiously awaiting the great event. \u003c/p\u003e\n","\u003cp\u003eSorry to hear about the trouble you have with your servants and hope you will be able to solve it to your satisfaction.\u003c/p\u003e\n","\u003cp\u003eI have designed something myself for the little stand and am taking the liberty of going ahead with it, hoping that you will approve of it. It will be made of 14 karat gold, and will be larger than the one you had and entirely different, and will cost approximately $150.00. The only thing I am not certain about is the size, not having the egg here. I have to guess more or less from the old stand, and therefore would like very much to have the egg to take measurements. \u003c/p\u003e\n","\u003cp\u003eOn second thought I don't think this will be necessary, as I expect to be in Washington next Tuesday, the 11th, when I would like to go out to your place for an hour or so, to see \u003c/p\u003e\n","\u003cp\u003e(over please)\u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003eyour things, and at the same time I could measure the egg.\u003c/p\u003e\n","\u003cp\u003eI think I could be in Fredericksburg around 2:00 P.M. and then take a train about 5:00 P.M. back to New York, unless it is necessary for me to stop over at Washington until Wednesday. \u003c/p\u003e\n","\u003cp\u003eThe heat is terrific in New York, and I am so glad that Mrs. Schaffer consented to go away. \u003c/p\u003e\n","\u003cp\u003eHoping that my letter finds you in the best of health, with kindest regards from Mrs. Schaffer and myself,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexanders S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 7, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eJust a line to let you know that I am planning to have an exhibit at my galleries, beginning November first, of the work of CARL FABERGE, and I thought you may be willing to loan me some of the lovely things you own. Although I really hate to put you to all this trouble, but maybe you could just have someone pack the things that you want to lend to me, and send them railway express, insured, at my expense. \u003c/p\u003e\n","\u003cp\u003eSo far I have only borrowed the big Easter egg, but I do not know whether I will have anything else outside of my own things.\u003c/p\u003e\n","\u003cp\u003eBelieve it or not, Paul is asking about you and sends his love, in which Mrs. Schaffer joins him. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n15 West 50th Street\nRockefeller Center\nNew York\nOctober 27, 1936\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI was so glad to receive your letter, as I was worried already that you may be ill, and that this was the reason that you did not come to New York as you planned. And judging from your letter, I was almost right, but I am glad to know that it isn't anything serious, and I hope that by the time this note reaches you, you will be in perfect condition again. \u003c/p\u003e\n","\u003cp\u003eI would not think of letting you make that trip to Washington. I would much rather wait until the 3d and then you could bring the things with you. \u003c/p\u003e\n","\u003cp\u003eRegarding the Egg, you have apparently forgotten that in one of my letters I have definitely promised it to you for September, and which I meant. Although it is now October, as you see I kept my promise, except for being late, which was beyond my control. I am sorry to learn that you cannot find a way of getting it at present. However, I must tell you this – should I be successful in making a substantial sale, I shall buy it back myself and then, needless to say, I will let you have it regardless of when you could pay for it. I only hope that they do not change their minds in the meanwhile. \u003c/p\u003e\n","\u003cp\u003eI could not buy it myself presently, because I have just paid a huge amount in duties for some fine things I have bought about a year ago. If not for \u003c/p\u003e\n","\u003cp\u003e[page 2]\u003c/p\u003e\n","\u003cp\u003ethis, I would have probably settled the whole affair with them without even writing to you about it, because to get it back is my one ambition, and I would not worry about selling it again. I shouldn't have done it in the first place. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, and love from the family, \u003c/p\u003e\n","\u003cp\u003eCordially,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 17, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am very sorry you didn't have a chance to come in while you were in New York, as I have some very beautiful pieces that I know you would have greatly enjoyed seeing.\u003c/p\u003e\n","\u003cp\u003eI am going abroad on Wednesday, the 23d, and will take some of them with me for a client in London. I don't know who long I will be. I hate to leave Mrs. Schaffer and the baby, but I guess I will have to.\u003c/p\u003e\n","\u003cp\u003eI am carefully packing and shipping the things to you, as I have them all photographed now. I am enclosing the photographs and the histories in the package. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nJune 21, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eIt was quite a shock to learn of your illness, but we are happy to read that the danger is over, and I can't tell you how glad we are that you are back home. We do hope that you will take good care of yourself so that you will get well and strong again, and never get ill again, ever.\u003c/p\u003e\n","\u003cp\u003eIf I weren't going to Europe, I would pay you a visit to cheer you up by showing you some of the things, but as it is, it will have to wait. However, I will keep the choicest [underlined] for you.\u003c/p\u003e\n","\u003cp\u003eMrs. Schaffer sends her love. Paul too made some sound, whatever he meant by it. Please do cheer us up as soon as possible, to tell us that you are better as we are still worried. \u003c/p\u003e\n","\u003cp\u003eWith kindest regards and wishes for your speedy recovery,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \u003c/p\u003e\n","\u003cp\u003eTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\nAugust 10, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt, \u003c/p\u003e\n","\u003cp\u003eIt is good to know that someone else thinks as much of the baby as we do. I was glad to see that you have noticed how much he changed. It is quite true he is not a doll any more, but a boy, and does not look like either of us especially. \u003c/p\u003e\n","\u003cp\u003eI am glad you kept the two pins. The one in question is a spinel ruby and not a garnet. I received the pink one today. \u003c/p\u003e\n","\u003cp\u003eI am sending to you today by railway express, insured, a few very choice pieces, of which I am enclosing the tags. I know that you will have great pleasure in seeing them and sincerely hope that you can manage to keep some.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you greatly improved (you didn't say anything about it in your letter), with kindest regards and best wishes from the whole family,\u003c/p\u003e\n","\u003cp\u003eSincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eSeptember 1, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter and check which I have received today.\u003c/p\u003e\n","\u003cp\u003eI was glad to read that you like the photos of the baby.  He is a little imp but he is adorable.  I know you will like him. He does look like his mother I think.  Both send their love.\u003c/p\u003e\n","\u003cp\u003eThe raspberry red gold mounted box that you mention, you already have in your collection.  I have sold it to you before you went to Egypt and had it repaired during your absence.  That is the only one I can think of.  At any rate, I only have three Faberge pieces in raspberry red enamel in my whole collection.  One is a little match case.  One is a little perfume bottle and one is a seal.\u003c/p\u003e\n","\u003cp\u003eHowever, I am glad that we had this little confusion about the boxes, because at least it gave you an opportunity to see the little yellow enamel box which you decided to keep.\u003c/p\u003e\n","\u003cp\u003eI am looking forward to seeing you soon.  With kindest regards and best wishes, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eOctober 7, 1937\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eWe are very much relieved that you have found the box.  I would have felt miserable otherwise.\u003c/p\u003e\n","\u003cp\u003eI am enclosing the bill and the histories of the objects you have taken with you.  In this bill is included the yellow enamel box which I have sent to you previously, and the two presentation icons that I am sending to you today by Railway Express, insured against all risks.  Please let me know whether they reach you in good condition.\u003c/p\u003e\n","\u003cp\u003eI hope that the trip to New York did not tire you too much, and that I will have the pleasure of seeing you very soon again.  I was sort of hoping that you could find time to see Paul, but I guess you just could not manage.\u003c/p\u003e\n","\u003cp\u003eTrusting that my letter finds you in the best of spirits, with kindest regards and best wishes from both of us, I am\u003c/p\u003e\n","\u003cp\u003eYours sincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eP.S.  Mrs. Schaffer seems to think that you wanted the panagia with the jasper cameo of Christ.  Please let me know whether I should keep it for you, as I myself am not certain.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eMay 11, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia \u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI am sorry for not answering your letter before this, but a freak accident kept me away for a few days.  While moving furniture around at home, I dropped a small but heavy table full of books on one of my toes.  It was quite painful, but I am glad to say that I think nothing serious will develop now.\u003c/p\u003e\n","\u003cp\u003eI am so sorry to read that you also have not been very well.  I know it is not as easy to do as to say, but one should try not to let things upset one.  Ones health is more important than anything else.  At least I am trying to practice what I preach even if I do not always succeed.\u003c/p\u003e\n","\u003cp\u003eI sincerely hope that conditions will improve very soon now, which would make it so much easier for all of us.  This depression did hit everybody I think.  It's worse than in 1932, because now one cannot buy anything, yet it is very hard to sell or to collect money. At least in 1932, even if it was hard to sell, one could buy fine things at reasonable prices, and eventually good things always find a market.\u003c/p\u003e\n","\u003cp\u003eOf course I would not dream of taking interest from you for the money you owe me.  I am convinced that if you could pay more than $500 a month, you would, and if you cannot, I certainly will wait rather than let you sacrifice any of the things that I know you love so much.\u003c/p\u003e\n","\u003cp\u003eLooking forward to the pleasure of seeing you soon, with kindest regards, I am\u003c/p\u003e\n","\u003cp\u003eVery sincerely yours,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: Telephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eAugust 1, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eI was most sorry to hear that you were ill, and I am glad to know that you are up and around again. Please do take care of yourself. Remember, we need your help for Paul's wedding. \u003c/p\u003e\n","\u003cp\u003eIt is remarkable how time flies! He is growing every day and you will find that he is not the little baby you have seen. Of course, we still think he's very sweet and lovable. \u003c/p\u003e\n","\u003cp\u003eWe are on the beach and would enjoy it very much except that there's a plague of mosquitoes which is not very pleasant, but we hope that they'll disappear soon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer \n[signature]\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eNovember 2, 1938\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\n \nDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your letter of the 1st and check on account.  I am glad that business is on the upswing.  It's about time – we all need it, and with the war scare behind us, we may be looking forward to better times.\u003c/p\u003e\n","\u003cp\u003eHave you seen on page 219 of the October Connoisseur the editorial about my topaz Fabergé vase?  I know you will be thrilled to see it, but the description will give you some idea of its beauty.  If you haven't this copy, I have an extra one and will be glad to send it to you.\u003c/p\u003e\n","\u003cp\u003ePaul and Mrs. Schaffer send their love.  You should hear him talking – a mile a minute – and most of the time we don't know what he's talking about.\u003c/p\u003e\n","\u003cp\u003eI hope the weather there has been just as nice as it has been in New York, although I think it might be better for business if the cold weather would set in.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards,\nSincerely yours,\nA.S. Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 15, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eI have just received your letter of the 14th, and hasten to let you know that the egg arrived safely.  Before I forget, my home address is: \n117-01 Park Lane South\nKew Gardens, L. I., N. Y.\nBuilding A, Apartment 2-B.\u003c/p\u003e\n","\u003cp\u003eI am sorry you cannot afford to keep the red and emerald egg.  Would you kindly return the parchment #2753?  I must have misunderstood about the jade chest egg.  I am enclosing an itemized bill as requested.\u003c/p\u003e\n","\u003cp\u003eThe silver tray will be packed and shipped to you as soon as possible, and if I haven't sold the necklaces before the end of the year, I will return them to you.  I think I told you that I sold the bracelet and the icon.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and very best wishes for a happy Christmas and New Year, in which the family joins me,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\u003c/p\u003e\n","\u003cp\u003eASS:RS\nP. S.  The parchment just arrived.  Thank you.\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747\nCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle emblem]\u003c/p\u003e\n","\u003cp\u003eRussian Imperial Treasures, Inc.\n\"The Schaffer Collection\"\n15 West 50th Street\nRockefeller Center\nNew York\u003c/p\u003e\n","\u003cp\u003eDecember 30, 1941\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nBox 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you for your kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe have just finished packing and will be out by tomorrow.  Let's hope it is all for the best!\u003c/p\u003e\n","\u003cp\u003eWe both want to thank you for your good wishes, and to express our sincere gratitude for having had the good fortune to acquire a friend like you.\u003c/p\u003e\n","\u003cp\u003eWe do hope to be able to see you every now and then.  If we go down south, we might even surprise you for a short visit.  (should we decide to drive).\u003c/p\u003e\n","\u003cp\u003eWith kindest regards, and very best wishes for the truly happiest New Year you have ever had, and with love from the family,\u003c/p\u003e\n","\u003cp\u003eSincerely,\nAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:RS\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003e\nNovember 21, 1945\u003c/p\u003e\n","\u003cp\u003eMrs. John Lee Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003ePlease forgive me for not answering your letter of the 14th at once, but I wanted to receive the articles before writing to you.\u003c/p\u003e\n","\u003cp\u003eI am enclosing a receipt for them.  They all arrived in good condition including the flower.\u003c/p\u003e\n","\u003cp\u003eRegarding the Globe Flowers, there was one stem without jade leaves. That is the way it was made.  It is all complete so you needn't worry about it.\u003c/p\u003e\n","\u003cp\u003eI am glad you like the little blue velvet stand.  I am indeed sorry that you could not manage to visit us during your last visit.  I do hope you can do so when you come again.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nCordially yours,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eENC.\nASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF EGYPT\"\u003c/p\u003e\n","\u003cp\u003e[Royal warrant seal]\n\"BY APPOINTMENT TO H.M. THE KING OF SWEDEN\"\u003c/p\u003e\n","\u003cp\u003eA La Vieille Russie\nIncorporated\n785 Fifth Avenue, New York\nEl Dorado 5-6889\u003c/p\u003e\n","\u003cp\u003eJune 4, 1946\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nP. O. Box 118\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt:\u003c/p\u003e\n","\u003cp\u003eThe man who bought the Faberge Easter Egg which you always said you should have bought and which you didn't because I discouraged you, was in today.  He wants to sell the Egg for $12,000.00, federal tax included.\u003c/p\u003e\n","\u003cp\u003eHe claims that someone else also wants to buy the Egg, so I decided to let you know at once in case you are interested.  He is not in need of money so I think you could have about six months in which to pay for it.\u003c/p\u003e\n","\u003cp\u003ePlease do not misunderstand me - I don't want to be a salesman in this case but you did mention several times how sorry you were that you didn't buy it.  Therefore, I do want you to have a chance to do so if you are still interested.\u003c/p\u003e\n","\u003cp\u003eWith kindest regards and best wishes, I am,\nSincerely,\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer [signed]\nAlexander S. Schaffer\u003c/p\u003e\n","\u003cp\u003eASS:GMD\u003c/p\u003e\n","\u003cp\u003eCable: Russianart, New York\nEstablished 1851\n18 Faubourg St., Honore, Paris\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, L.I.\nNew York\u003c/p\u003e\n","\u003cp\u003eFebruary 3, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your very kind letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWell, we still haven't left New York, but if all goes well, should be on the way in a few days.  Unless I write in the meantime, I think it would be best to send your next check to Kew Gardens.\u003c/p\u003e\n","\u003cp\u003eAlex has been away for a few days rest.  He should be back very shortly, but I didn't want to delay writing to you.\u003c/p\u003e\n","\u003cp\u003eThe children are very well.  I have a new governess for them, and that's one of the reasons it's taken us longer to get away.  I didn't want to take them with us, as it would have been too much for them, and no rest for anybody, and I couldn't leave them until I was absolutely sure that everything was running smoothly at home.\u003c/p\u003e\n","\u003cp\u003eI hope that we'll be seeing you soon.\u003c/p\u003e\n","\u003cp\u003ePeter and Paul send their love, as do I.\u003c/p\u003e\n","\u003cp\u003eSincerely,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nTelephone Circle 7-0747  \u003c/p\u003e\n","\u003cp\u003eCable Address \"Russianart\"\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffer\n117-01 Park Lane So.\nKew Gardens, N. Y.\u003c/p\u003e\n","\u003cp\u003eApril 24, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eThank you very much for your check and letter.  I do appreciate it.\u003c/p\u003e\n","\u003cp\u003eMy husband just went away for a few days to recuperate, as he is still not up to par.\u003c/p\u003e\n","\u003cp\u003eYes, the place that you saw near the Sherry-Netherland is where we have given our collection for sale, but so far they have sold few of our things.  People seem to think however, that things will improve.  Let's hope it will be soon.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eCordially,\nRay Schaffer [signed]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eJuly 5, 1942\u003c/p\u003e\n","\u003cp\u003eDear Mrs. Pratt,\u003c/p\u003e\n","\u003cp\u003eMany thanks for your nice letter and check on account.\u003c/p\u003e\n","\u003cp\u003eWe just moved last Monday so I'm sure you can visualize how busy I've been and will forgive me for not having written before.  Please overlook the stationery too, as I'm not even all unpacked!\u003c/p\u003e\n","\u003cp\u003eThe children love it here and are thriving.  I hope it will do Alex lots of good too, as he certainly needs it.  He's still been very jumpy!  As for me, I love it.\u003c/p\u003e\n","\u003cp\u003eI hope you are taking good care of yourself and keeping well.\u003c/p\u003e\n","\u003cp\u003eLove from us all,\u003c/p\u003e\n","\u003cp\u003eRay Schaffer\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Handwritten letter]\u003c/p\u003e\n","\u003cp\u003eCopy\u003c/p\u003e\n","\u003cp\u003eDec. 4th '45\u003c/p\u003e\n","\u003cp\u003eMy dear Mrs. Schaffer – \u003c/p\u003e\n","\u003cp\u003eHerewith my check for two hundred eighty-five dollars in full payment of account.  When you acknowledge please mention the amount, and that it is in full payment for my files.  Thank you and Mr. Schaffer for your kindness.  A great weight is off my shoulders.\u003c/p\u003e\n","\u003cp\u003eTell Mr. Schaffer I will pay for the Globe Flower and paper-cutter as soon as I can.  My Income Tax on the 15th will leave me a very small balance for December.\u003c/p\u003e\n","\u003cp\u003eKindest regards, Sincerely yours,\u003c/p\u003e\n","\u003cp\u003e(Signed) Lillian T. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n\"Visite en France de Leurs Majestes L'Empereur et L'Imperatrice de Russie. Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\n$30.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 3.\nRectangular miniature picture frame by CARL G. FABERGE, the Russian Court\njeweler.\nIt is executed in gold on silver bearing a ground of rose colored enamel.\nBorders of wreath design frame the enameled ground and around the opening for a picture is enclosed with beadwork.\nBears a piece of beveled plate glass to cover the picture and is paneled with ivory.\nSigned \"FABERGE\".\n$300.00\nFrom the Youssapoff Collection.  Originally it was presented to the Princess Youssapoff by the Empress Maria Feodorovna.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] G. 5.\nMiniature picture frame by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.\nConcentric fluted gold rims separate these areas.  The jade is of a dark spotted green and in contrast to it a pale mauve enamel is employed everlaid [sic] by an interweaving green-gold wreath.\nAt top a ribbon with bow and loose ends is fixed bearing a ruby in the center.  It is mounted with a gold easel.\n$275.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\n#G. 8.\nA miniature icon by CARL G. FABERGE, the Russian court jeweler. \nIt is in the form of triptych and very simply on the exterior is paneled with a dark wood bearing a four-petaled catch centered by an emerald.\nIt opens to disclose a solid gold interior. The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls. The yellow-gold ground bears arabesques of the filigree and studded at significant points in the design are emeralds, rubies, sapphires, and diamonds. \nThe central panel frames \"The Resurrection\". Against a dark background the figure of Christ appears holding aloft a pennant. His form radiates light and in the foreground two angels kneel. It is an extremely small painting even for a miniature but is complete in every detail. \nAt top there is the Russian cross studded with emeralds and rubies. \n$1500.00\nThe inscription is as follows: \nLeft panel: \"Resurrection of Thine, O Christ, Savior, about which the Angels sing in Heaven.\nRight panel: and we on Earth try to be worthy to glorify Thee.\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 13.\nDome-shaped jade push button by CARL G. FABERGE, the Russian Court jeweler.\nIn the classic French style adapted by Faberge, the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut ruby set in a nine-petaled mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and following in this style is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three short feet in the form of rococo scrolls.\n$650.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 14.\nGold-mounted jade calendar device by CARL G. FABERGE, the Russian Court jeweler.\nIn the form of a rectangular piece of dark translucent green jade it is designed in his classic manner and mounted with gold-gilt back and easel.\nAt the top swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center two oval openins [sic] bear red enameled mounts which have the numbers for the day of the month and these are changeable each day by clicking the buttons on either side. \nBelow on a set of gold gilt plaques the months are engraved and held in place by red enamel and moonstone mounts.\nSigned \"Faberge\".\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #G. 16\nLarge jade Easter egg mounted in gold gilt silver by CARL G. FABERGE, the Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold gilt silver, and bearing ruby catches with which to open it.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #23\nVery fine gold and silver frame beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth.  Signed and dated 1909.  (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is designed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana, her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler, \"Fabergé\", by whom it is signed.  The back is of ivory.\nFrom the personal belongings of Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 2354.\n$240.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #38\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.  \nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under number 1955.\n$60.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #73/44\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n$120.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[doubleheaded eagle] #75.WM\nCream leather frame with beautiful gold tooling and crown, top center, containing a photograph of the Grand Duchesses Olga and Tatiana. [from \"containing\" on, words are scratched through]\nThe frame was made by A. Peterson at St. Petersburg, by appointment to the Czar of Russia.\nFrom the Winter Palace, where it was catalogued under #430/2.\n$36.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #86\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and siver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n \"Blessing from the Monastery of St. Martyr and Healer Panteleimon on the Sacred Mount Athos.  To His Imperial Highness Heir Apparent and Czarevitch Grand Duke Alexis Nicholaievitch for Divine Assistance and Protection.  October 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\n$1,000.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and 9 saints in miniature as follows:\n1 - St. Peter – Metropolitan of Moscow\n2 – St. Alexis -     \"                 \"          \"\n3 – St. Ivann -      \"                 \"          \"\n4 - St. Prince Michael\n5 – St. Boyard Theodor\n6 – St. Dimitry the Blessed\n7 – St. Vasily the Blessed (In whose name the famous church in Moscow was built by Ivann the Terrible.  The church upon completion was so beautiful, that the Czar, fearing that it might be duplicated, had the architect blinded.)\n8 – St. Michael the Martyr\n9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears a nameplate which reads as follows:\n\"To His Imperial Highness Czarevitch and Grand Duke Alexis Nicholaievitch from the Nobility of Nijni Novgorod.\"  It was made by \"Chlebnikoff\" (By Appointment to the Russian Royal family.)  It is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\n$3,500.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #477\nVery lovely cane holder, of crystal, with fine enameling, and gold mounting, and studded with diamonds.\nMade by the famous court jeweler \"Faberge\" (By Appointment to the Czar of Russia.)\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Czar Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #479\nVery beautiful rock crystal parasol handle mounted in beautifully chased gold and enameled in soft shades of blue and studded with two rows of oriental pearls.\nMade by the famous court jeweler \"Carl Faberge\" (By Appointment to the Czar of Russia), who was often referred to as the Cellini of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #480\nVery fine cane handle enameled in white.  With gold striped and two Roman tens (X), enameled in orange.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the Cellini of the 19th century.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #481\nVery fine cane handle made of Russian nephrite (jade), mounted in gold and enameled in a beautiful red translucent enamel, in spiral design.  With two rows of diamonds.\nMade by the famous court jeweler \"Carl Faberge\", who was often referred to as the \"Cellini of the 19th century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #509\nVery fine parasol handle of amethyst, carved with a spiral design.  Gold mounting and two rows of diamonds.  Enameled in a lovely shade of translucent pink in a woven effect.\nIt is the creation of the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia.  He was often referred to as the Cellini of the 19th century because of his unusually fine craftsmanship.  \nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #534\nVery fine parasol handle made of a solid piece of amethyst, with most unusual gold and silver mounting.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #536\nVery fine cane handle made of Russian nephrite (jade), with gold mounting, very finely chased and hammered.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #538\nUnusual parasol handle made of Russian nephrite (jade), with very fine gold mounting in the shape of a serpent coiled around the handle.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as the \"Cellini of the 19th century.\"  \nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #539\nUnusual red/Russian nephrite cane handle, in the shape of duck's head.  With gold mounting, enameled in green and white, and set with diamonds.\nMade by the famous Russian artist \"Carl Faberge\", court jeweler to the Czar of Russia, who was often referred to as \"The Cellini of the 19th century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in center beautifully painted portrait of \"Madonna and Child\" in enamel, and framed with filigree work which is filled with shaded enamel showing tulips and other flowers, in the center of each of which topazes and garnets alternate.\nSurmounted by crown which has two aquamarines one topaz and one garnet.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family.) Moscow.\nFrom the private belongings of Czarina Alexendra [sic] Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$325.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.  The craftsmanship displayed in this piece adequately shows the reason why Carl Faberge is often referred to as the \"Cellini of the 19th century.\"\nFrom the Collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #997\nExceptionally fine circular cigarette container of gold and silver, enameled in brilliant translucent red and ornamented with swags and ribbons done in two shades of gold.  At top and bottom there are finely fluted borders with crossed ribbons at intervals.\nIt is by Carl Faberge, court jeweler to Nicholas II, the late Czar of Russia, and who is often referred to as the \"Cellini of the 19th century.\"\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1073\nExceptionally beautiful and rare [scratched out \"graphite\" and ?] jade (handwritten) frame mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frame the picture (handwritten), while on the [nephrite scratched out] jade (handwritten) margin green gold festoons are attached to reddish gold rosettes.\nA superb example of the fastidious workmanship lavished upon the small creations of Carl Faberge, celebrated court Jeweler to the Court of Russia.\nThis example aptly illustrates Faberge's unique use of the rare semi-precious stons [sic] which were found in the Russian Impire [sic].\n[Scratched through: In original Hollywood case]  From the Alexander Palace at Tsarskoye Selo.\n$750.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1075\nCircular gold picture frame of the most exquisite and delicate workmanship chased with a shimmering \"guilloche\" pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\n[In original case - scratched through]\nSigned by Carl G. Faberge, famous jeweler to the Imperial Court of Russia, [and who has so often been referred to as the \"Cellini of the 19th century.\" – scratched through]\nFrom the Alexander Palace at Tsarskoye Selo.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1078\nExceptionally beautiful gold and silver picture frame of most unusual size enameled in translucent sky-blue over a scintillating chased (guilloche) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At top laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  \n[crossed out: The frame contains a photograph portraying Czar Nicholas II and King George V of England, his cousin, and the two heirs to the throne, the Prince of Wales of England and the Czarevitch Alexis of Russia.]\nThe fine craftsmanship displayed in this example typifies the work of Carl G. Faberge, celebrated court Jeweler to the Imperial Russian Family.\nFrom the Alexander Palace at Tsarskoye Selo.\n[$600.00 scratched through] 450 handwritten\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1101\nExceptionally beautiful and rare gold (handwritten) miniature icon depicting the \"Holy Virgin and Child Enthroned\" set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top an interesting attachment is mounted with a blue sapphire while from the bottom hang a pink ruby an emerald and a pearl [last phrase handwritten].\nMounted in a beautifully designed triptych of \"Old Russian\" design. [Scratched through: lined with an ancient piece of brocade].  Hinges conform to the design of the case and are in solid silver intricately chased.\n[An \"X\" appears here, referring to where the last paragraph at the end of the text should be inserted]\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\n\"X\" - The icon bears an inscription meaning \"Save and Protect\".  It is signed by the artist: \"M. Chuknovsky\".\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1315\nVery fine miniature picture frame delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface enameled brilliant orange.  \nAt the corners of the actual opening for the picture pearls are set in while on the enamel circular wreaths are mounted together with crossed arrows.\nBy \"Carl (G) Faberge,\" celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the 19th century.\"\n$180.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1350\nPaper knife of richly grained tortoise shell of unusual personal interest mounted with a solid gold facsimile reproduction of the inscription: \"For Dear Alix (the Czarina Alexandra Feodorovna) from Misha.\" (Grand Duke Michael, brother of Nicholas II, the late Czar of Russia).\nFrom the Alexander Palace at Tsarskoye Selo.\n$150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1556\nSmall silver triangle frame by CARL G. FABERGE the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased guilloche surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a bevelled [sic] glass with the outside border in beadwork.\nBack with ivory and signed and in the original hollywood case bearing FABERGE'S name and the Russian eagle. [Last sentence crossed through]\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle} #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides a diamond is inset and in the very center surrounded by a laurel wreath the Roman number \"ten\" in diamonds signifies a tenth anniversary.\nSigned by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1576\nA pin by CARL G. FABERGE in the Egyptian style formed of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the 19th Century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$1200.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE, executed in solid gold in his French classic style.  It follows in technique the French 18th century gold snuff boxes with a ground of cobalt translucent enamel.  Unlike most of Fabergé's surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes, and is merely visible as faint rays on the enamel surface.\nAround the center there is a broad vari-colored gold band carved in a minute serpentine pattern together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg circular caps bear ten-pointed rosettes enameled in green.  The three divisions are further enhanced by the addition of 3 bands of white matte enamel dots, one of which in the center row is a tiny diamond catch.  As one opens the egg, the inscription may be seen: \"Christ is Risen\".  In the original case bearing the name \"Faberge\".\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$450.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface and opens with a small pearl bordered lid having a ruby catch.\nDecorated on top with a diamond and ruby six-petaled flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE, the Russian Court jeweler.\nIt is executed in Fabergé's classic style with three shades of gold employed.  The shaft is delicately fluted and is overlaid with a green gold festoon and diamond rosette.  About it, a delicately carved green gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1736\nJade parasol top mounted in gold by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.  On the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$350.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #1737\nJade parasol top mounted in gold, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.  A green gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\n$300.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2237\nTiny solid gold oval box, by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with exerpts [sic] from the Koran.  It is surrounded by a row of diamonds.\nLike all of Fabergé's boxes, the fit of cover to box is a notable example of his craftsmanship.  Here also he has employed the hinges which appear on the finest 18th century gold snuff boxes.\n$850.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] #2238\nRare miniature Easter egg, by CARL G. FABERGE, the Russian court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise, and entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a brilliant cabochon-cut ruby.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle, no identification number]\nMiniature gold and platinum charm in the form of a bulldog.\nThe collar is gold, and the eyes are rubies, while the body is set with ten large diamonds and many smaller ones.\n$250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nRockefeller Ce [ripped] ekly\nFOR IMMEDIATE [ripped] O\u003c/p\u003e\n","\u003cp\u003eAlexander S. Schaffe [ripped]\n15 West 50th Street [ripped]\u003c/p\u003e\n","\u003cp\u003eCenter Publications, Inc. \nNEW YORK N Y\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\n #572.\nExceptionally fine \"Fabergé\" handle, made of an unusually formed beautiful green jade, enclosed in two gold gilt bands which are chased in a simple design.  The top of the handle is studded with sixty-five various sized blue sapphires in a triangular setting.  Set on a stick of very fine tortoise shell.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1934\u003c/p\u003e\n","\u003cp\u003eA most unusually fine topaz brooch in the shape of the face of a lion, with two rubies as eyes.  The lion is holding in his mouth a large diamond, also gold ring, which is studded with seven smaller diamonds.  It is mounted in beautifully chased and engraved gold wreath, which is decorated with various hunting implements executed in red gold.\nOriginally among the possessions of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth, (Countess Brassov, morganatic wife of Grand Duke Michael.)  Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934 \n #23.\nVery fine gold and silver frame, beautifully enameled in lavender on one side and grayish-blue on the other.  It contains a photograph on one side of Grand Duke Michael Alexandrovitch, and on the other, a photograph of his wife, the Grand Duchess Elizabeth. Signed and dated 1909. (After the revolution, Czar Nicholas II abdicated in favor of his brother, the Grand Duke Michael, but the latter declined to become Czar of Russia.)\nThe frame is signed by \"Fabergé\", famous court jeweler to the Czar.  It is an exceptionally good example of his fine work.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #38.\nGold and silver frame with grayish-blue enamel panel with sunray effect.  In center, round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, surmounted by Roman ten (X), studded with diamonds.  It is signed by the well-known master, \"Fabergé\", court jeweler to the Czar of Russia.  The back is of ivory.\nThis was a present from the Czarina to the Czar on the tenth anniversary of their marriage.\nFrom his personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 1, 1934\n #73/44.\nIvory finished birch frame with gold and silver bead mounting, and crown in top center, containing a group photograph of the Russian Imperial family, portraying the late Czar, Nicholas II; his wife, Alexandra Feodorovna; at their knees, seated, Alexei Nicholaievitch, the Czarevitch; standing in the back, Grand Duchess Olga and Grand Duchess Tatiana; on the left, Grand Duchess Marie; and on the right, seated on a chair, the Grand Duchess Anastasia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 10369a.\n[handwritten: 12 1/8\" hegl (?) x 14 5/8\"]\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1934\n #315.\nPorcelain Easter egg, bearing on one side the gold monogram and crown of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, and on the other, a small red cross.\nIt was the custom of the Czarina to present these eggs to wounded officers, while she served as a nurse during the World War, as a token of Easter greetings.\nFrom the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nApril 2, 1934\n #70\nUnusual photograph taken during the World War in one of the hospitals, portraying the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, seated on a chair in the center, sewing.  Behind her can be seen the Grand Duchess Olga and the Grand Duchess Tatiana, dressed in nurses [sic] uniforms.  They are surrounded by wounded officers and members of the hospital staff.\nThe photograph has the original frame, the simplicity of which is surprising, and is from the personal belongings of Grand Duchess Tatiana, the second daughter of Nicholas II.  From the Alexander Palace at Tsarskoye Selo where it was catalogued under number 1955.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nApril 2, 1934\n #D2.\nBronze commemoration medal portraying Nicholas II, the late Czar of Russia, and Alexandra Feodorovna, his wife.  On the reverse side of the medal can be seen the Russian Imperial eagle and the emblem of the Republic of France, and the following inscription:\n \"Visite en France de leurs Majestés L'Empereur et L'Imperatrice de Russie.\n   Cherbourg. Paris. Chalons. 5-9 Octobre, 1896.\"\nOn the bottom is a beautifully chased wreath of various flowers and ribbon.\nIt was struck on the occasion of their visit to France in 1896, and is signed by the artist \"J.C. Chaplain.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nImperial Russian Art Treasures\nRockefeller Center, New York\nApril 30, 1934\n #86.\nUnusually fine icon portraying \"St. Panteleimon\" in a very fine gold and silver frame richly enameled.  A fine example of the work of \"Kuzmechev\", (By Appointment to the Czar of Russia.)  On the back of the icon is a large silver plaque with engraved inscription which reads as follows:\n\"Blessing from the Monastery\nof St. Martyr and Healer\nPanteleimon on the Sacred\nMount Athos.  To His Imperial\n Highness Heir Apparent and\nCzarevitch Grand Duke Alexis\nNicholaievitch for Divine\nAssistance and Protection.\nOctober 5, 1904.\"\nFrom the bedroom of the Czarevitch, at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 33.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #5.\nGold and silver vodka cup with dates \"1894-1904\" inlaid in blue enamel and surmounted by gold crown which is studded with diamonds.\nFrom the personal belongings of Czar Nicholas II, the late Czar of Russia, to whom it was presented by his wife, Czarina Alexandra Feodorovna, on the tenth anniversary of his reign.\nIt is signed by the well-known master \"Fabergé\", court jeweler to the Czar of Russia.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJune 4, 1934\n #36\nSmall round gold frame with beautiful green translucent enamel, containing a small round photograph of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia, holding in her arms the Grand Duchess Tatiana [name underlined in pencil with ? following name], her second daughter.  The photograph is surrounded by pearls.\nThe frame bears evidence of the artistry of the famous court jeweler \"Fabergé\", by whom it is signed.  The back is ivory.\nFrom the personal belongings of the Grand Duchess Tatiana.  From the Alexander Palace at Tsarskoye Selo, where it was catalogued under the number 2354.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #461\nMost exceptionally fine miniature icon (panagia), painted in enamel in very beautiful soft tones which produce a most pleasing effect.  Signed in the lower left corner.  The icon portrays \"St. George Slaying the Dragon\", the Insignia of the Romanoff family.  It is set in very fine gold and silver filigree work and is studded with rubies.\nIt is mounted in highly polished holly wood, similar to the original fitted case which is lined with satin and bears the gold stamp of the House of Fabergé, typical of the beautiful boxes that Fabergé made for his creations.  The icon is a fine example of the work of \"Carl Fabergé\", who was often referred to as the \"Cellini\" of the 19th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJuly 28, 1934\n #462\nA most unusual enamel miniature icon (panagia), portraying \"Madonna and Child\".  It is mounted in a very beautiful gold and silver frame surmounted by crown and studded with turquoises and pearls of very good quality.\nFrom the private collection of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nJuly 28, 1934\n #463\nA most unusual enamel miniature icon (panagia), portraying the \"Madonna and Child\".  It is set in a very fine gold and silver frame inlaid with vari-colored enamel in very fine filigree work.  Surmounted by crown and studded with pearls and garnets of very good quality.\nFrom the private collection of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nSeptember 28, 1934\n #558\nA most exceptionally fine silver bunny made from life by the well-known Russian jeweler, \"Carl Fabergé\", who was often referred to as the Cellini of the 19th century.  It is made up of two sections; the head opens on a hinge, and the hollow inside was probably used for bonbons.  The eyes of are Ural rubies.\nIt is a very good example of this type of work that was made by this master craftsman.  The life-like effect and charm, as well as the characteristically fine detail, will win one over readily to the many admirers that he already has all over the world, in both royal houses and humble alike.\nThe bunny bears on the bottom a most exceptionally clear hallmark and signature \"K. Fabergé,\" surmounted by Russian Imperial eagle, the date \"1894\", and the St. Petersburg hallmark.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #150\nA most exceptional blue and silver brocade cope, with an all-over \"Baroque\" floral and leaf design woven in silver threads which will never tarnish, as they were treated with an unknown process which is today a lost art.  It is bordered with a very fine hand-made silver lace of the period.\nRussian, 18th century.\nFrom the private collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nDecember 3, 1934\n #309\nVery interesting gold gilt silver ice pail in the shape of a basket, executed in very fine detail, true to the fine workmanship of the well-known court silversmith, \"Ovchinnikov\", who made so many outstanding pieces for the Russian Royal family.\nIt is signed and dated 1873.  Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nChristmas, 1934\n #597\nA most unusual gold pin in the shape of a tree trunk, showing a snake coiled around the tree, hypnotizing a bird which is perched directly above.  It is chased in very fine detail of vari-colored gold which is typical of Fabergé.\nOriginally in the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJanuary 2, 1935\n #504\nVery important gold and silver vase enameled in beautiful, rich coloring, which can hardly be described.  One can scarcely distinguish the enamel from the various precious stones, such as emeralds, rubies, sapphires, pearls, etc., with which it is embellished, true to the splendor of a jewelled [sic] crown, which is incorporated in the design of the vase.\nIt is the work of that outstanding master \"Carl Fabergé\", court jeweler to the Czar of Russia, and who was often referred to as the \"Cellini\" of the 19th century.  It is one of his most outstanding creations and is signed on the bottom of the vase.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nFebruary 26, 1935\n #438\nVery fine miniature Easter egg, enameled in a translucent pink and studded with one large and two smaller sapphires and two diamonds mounted in gold.\nThe work of Carl Faberge [sic], famous craftsman of the 19th century who was often referred to as the Cellini of the 19th century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #571\nExceptionally beautiful parasol handle by Carl Faberge [sic], Court Jeweler of the Czar of Russia, often referred to as the Cellini of the 19th century.\nThis fine specimen of Faberge's [sic] art shows the ingenuity and artistry of this master craftsman.\nThe curved part of the handle, formed of a single piece of jade, is finely incised and mounted with rubies.  The main body of it, a single piece of tortoise shell, polished and tapered, is connected by a fine gold and enamel mounting.  This gold mounting, so typical of Faberge's [sic] art, is chased and enameled in a lovely translucent red, and ornamented by a fine design of festoons in yellow gold.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #760\nVery fine gold gilt silver frame beautifully enameled in a rich cobalt and decorated with a wreath.  Top surmounted by beautifully designed gold ribbon.  The back is covered with Russian birch, finished to simulate ivory.\nFrame contains well-painted miniature portraying wife of Alexander II, grandfather of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #774\nA most exceptionally fine gold gilt silver ash tray, beautifully chased and enameled in a very fine shade of canary yellow transparent enamel, supported by three ball feet; studded in the front with a beautiful round moonstone and an oval moonstone at the top of the handle.\nA fine example of the creations of the famous Russian Court Jeweler, Carl Faberge [sic], who was often referred to as the Cellini of the 19th Century.\nFrom the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 25, 1935\n #780\nVery fine miniature carnelian Easter Egg, studded with three small rubies and diamonds mounted in gold.  \nThe work of Carl Faberge [sic], the famous craftsman of the 19th century who was often referred to as the Cellini of the 19th Century.\nFrom the private belongings of Olga Nicholaeovna, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nEaster, 1935\n #818\nVery interesting white porcelain Easter egg with floral design, bearing monogram \"A.F.\" surmounted by crown, standing for Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nMade in the Russian Imperial Porcelain Factory at St. Petersburg.\nThe decoration of this porcelain Easter Egg is beautifully composed of a handsome wreath of roses going around the middle of the egg from one side of the monogram to the other.  The roses, exquisitely painted in varying shades of magenta, together with the leaves, are bound about by a blue ribbon recurring at different intervals throughout the wreath.\nThe monogram of the Czarina is finely rendered in gold laurel leaves, and with the crown, is placed in the center of an oval from which start symetrical [sic] borders in gold going around the egg.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#417.  Exceptionally fine miniature Easter egg made of lapis.\n#419.  Miniature gold Easter egg, composed of three Russian semi-precious stones mounted in gold and set with three tiny rubies.\n#420.  Miniature gold Easter egg in the shape of a cage, set with a turquoise.\n#421.  Miniature gold Easter egg engraved in a spiral design and set with a band of blue sapphires.\n#639.  Very interesting miniature Easter egg carved from a dark blue lapis lazuli\n with a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\u003c/p\u003e\n","\u003cp\u003e#422.  Miniature gold Easter egg, beautifully enameled in white, and bearing the red cross.\n#423.  Miniature Easter egg, made of a gray Russian semi-precious stone set on \nthe bottom with a ruby and on the top mounted with a gold leaf.\n#424.  Miniature Easter egg made of Russian pink agate.\n#445.  Miniature gold Easter egg, beautifully enameled in green, white, and red, with tiny red enamel dots on the green enamel, and decorated with gold wreath.\n#447.  Very interesting miniature gold Easter egg enameled in turquoise blue and and placed in a gold cone which is suspended from a gold ring.\nMade by the famous court jeweler, \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Maria, the third daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#425.  Gold and silver miniature Easter egg set with blue transparent enamel.  \nOpening on a hinge.\n#426.  Miniature gold Easter egg decorated with tiny bell shaped flowers, each studded with a diamond, and on the bottom a blue sapphire.\n#427.  Miniature Easter egg made of pale blue Russian semi-precious stone, mounted in beautifully chased various colored gold.\n#428.  Miniature gold Easter egg in the shape of a perfume bottle hanging from a\n chain, the lid opening and studded with an amethyst.\n#429.  Miniature Easter egg in the shape of a Russian icon lamp (lampadka), with\ngarnet in the gold lamp, which hangs from three chains.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#430.  Miniature Easter egg, made of a gray semi-precious Russian stone mounted in various colored beautifully chased gold, and studded with four rubies.\n#431.  Miniature gold Easter egg enameled in white, the upper part studded with rubies and one diamond, and in the center, beautifully chased gold\nwreath.\n#432.  Miniature Easter egg made of Russian agate mounted in various colored beautifully chased gold. \n#435.  Miniature Easter egg of Siberian jade (nephrite), decorated with a gold leaf design studded with rose diamonds and two rubies.\n#436.  Miniature gold Easter egg set with five rubies and various rose diamonds.\nMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\nMay 2, 1935\n#437.  Miniature gold Easter egg beautifully enameled in red and white, and inlaid with gold leaves.\n#458.  Very interesting egg-shaped pearl supporting a beautifully chased gold cock which is suspended from a ring.\n#459.  Very fine miniature gold Easter egg studded with pearls and turquoises, stones divided in four sections.\n#673.  Very interesting gold gilt silver miniature Easter egg in the shape of a bee hive, studded with a green Ural stone.\n#676.  Very fine gold gilt silver miniature Easter egg enameled in soft shades of\n Russian enamel set in filigree work.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé.\"  From the personal belongings of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures \nRockefeller Center, New York\nMay 2, 1935\n#449.  Very beautiful miniature gold Easter egg nicely chased and enameled in \ntranslucent red on top and bottom; in center small squares of yellow and green enclosed in two white bands of opaque enamel.\n#450.  Very fine miniature gold Easter egg beautifully enameled in a soft shade of turquoise translucent enamel encircled with an engraved wreath which is enameled in emerald green.\n#779.  Most unusual miniature Easter egg composed of rock crystal and garnets divided in various sections with many rows of small diamonds mounted in\ngold.\n#779A. A very fine miniature Easter egg composed of an unusual star sapphire colored agate mounted in gold which is finely chased and enameled in [sic] soft shade of green and decorated with a row of diamonds.\u003c/p\u003e\n","\u003cp\u003eMade by the famous court jeweler \"Carl Fabergé\".  From the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 27, 1935 \n  #110\nExceptionally fine gold and silver Russian icon portraying the \"Holy Virgin of Iverskaya with the Child\".  The trappings, consisting of the exquisitely chased and modelled robes of the Virgin, together with the frame and borders of ancient Byzantine design, are a superb contrast to the magnificent haloes done in all the brilliant shades of the Russian enamel.  In a lovely design of filigree, the enamel combines rare shades of turquoise blue, ruby red and deep greens interspersed with white.\nWithin the recessed panel of the icon there is inscribed at top in old Russian characters: \"The Mother of God\", while within the halo of the Child, there is in the form of an abbreviation: \"From the Father Proceeds\".\nThe back of the icon is mounted with a plaque which is inscribed \"To Her Imperial Highness the Grand Duchess Tatiana Nicholaievna from the Nobility of Moscow.\"  This icon, notable alike for the beauty of characterization of the \"Virgin and Child\", together with its technical perfection in the use of gold, silver and enamel, was from her personal belongings at the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #888\nVery unusual penholder of the Dowager Empress Maria Feodorovna, constructed of a brilliant shaft of lapis lazuli mounted in gold and picked out with a conventionalized chasing.\nThe top is set with the seal of the Empress, consisting of her monogram \"MF\" surmounted by crown, and is engraved in a round, milky-colored agate.\nIt is a fine example of the work of \"Carl Fabergé\", the famous court jeweler to the Russian Imperial family, and who is often referred to as the \"Cellini\" of the 19th century.\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n   #893\nSmall round gold picture frame of more than ordinary beauty and quality by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family.\nThe ground of this piece chased with a shimmering pattern, is enameled translucent white and bordered with a minutely detailed wreath design in green gold on the outside.  The inside is bordered with pearls while the enameled surface is painted with conventionalized trees.\nThe back is of ivory, and it contains a photograph of Czarevitch Alexei Nicholaievitch, son and heir apparent of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #894\nSmall oval picture frame made of a deep ultramarine piece of lapis lazuli mounted on the outside with a chaste wreath design in two shades of gold.  On the inside, a border of pearls lends an air of rare quality and refinement.\nThe back is of ivory, and it contains a photograph of Maria Nicholaievna, the third daughter of Nicholas II, the late Czar of Russia.  \nIt is by \"Carl Fabergé\", famous court jeweler to the Russian Imperial family, who is often termed the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #901\nPerfectly square small silver gilt frame finely fluted and enameled in pale translucent blue.  It contains a photograph of the Grand Duchess Tatiana Nicholaiovna [sic], the second daughter of Nicholas II, the late Czar of Russia.\nIt is signed by \"Carl Fabergé\", court jeweler to the Russian Imperial family, often referred to as the \"Cellini\" of the 19th century.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  #905\nVery beautiful miniature gold Easter egg.  Chased and translucently enameled in deep Russian blue, it is finely festooned with ribbons and wreath in two shades of gold, which is so typical of the work of \"Carl Fabergé\", court jeweler to the Russian Imperial family.\nFrom the personal belongings of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#907, #908]\n#907.  Very lovely miniature gold Easter egg chased and enameled translucent\nwhite and studded with a beautiful yellow and a white diamond.\n#908.  Very beautiful miniature Easter egg of pink quartz.  It is encircled by a gold ring having two diamonds and two sapphires in the form of leaves attached to it.\nBoth of these eggs were made by \"Carl Fabergé\", well-known court jeweler to the Russian Imperial family, who was often referred to as the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n  [#909, #904, #911]\n#909.  Very fine miniature Easter egg made of an unusual green Ural stone. Mounted in gold with a conventionalized flower design, it is set with three groups of three diamonds, three sapphires and three rubies.\n#904.  Very lovely gold miniature Easter egg. The upper half is chased and  enameled in translucent white.  The lower half is of gold wire.  It is mounted with a large oval sapphire and two sprigs of gold leaves.\n#911.  Most unusual miniature Easter egg made of red porphyry.  (This stone was so rare that whenever found it was always presented to the Imperial family.)  It is mounted in a beautiful gold ropework design. \u003c/p\u003e\n","\u003cp\u003eThese eggs were made by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who was so often termed the \"Cellini\" of the 19th century.\nFrom the personal belongings of the Grand Duchess Tatiana, second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nSeptember 30, 1935\n #912\nDiamond-shaped gold pin, ornamented with the Russian Imperial Eagle, against a translucent mauve enamel ground in a chased sun-ray design.  The eagle, studded with various sized diamonds, is of very fine craftsmanship.  \nFrom the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1017\nUnusually beautiful solid gold cigarette case, elegantly embossed with sprays of leaves into which are mounted cabochon-cut rubies of beautiful color.  A ruby of the same color, mounted in gold, serves as the catch which opens the case.\nIt is signed by \"Carl Fabergé\", famous jeweler to the Russian Imperial family, who, because of his excellent craftsmanship and artistry, has often been termed the \"Cellini\" of the nineteenth century.\nFrom the belongings of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1041\nBeautifully conceived and executed miniature frame of the supreme quality achieved by \"Carl Fabergé\".  Mounted on a nephrite pedestal of pure classical inspiration, it is encircled at the top with a gold wreath mounted with rubies.  From it hang festoons of leaves minutely chased and carved out of green and yellow gold.  The gold enrichment of the base is also in two shades of gold and here is finely wrought with acanthus leaves.  The frame which is double to hold two miniatures, is enclosed with a round wreath, carved out of greenish gold and at the top is mounted with a ribbon, rubies and an oval terminal pearl.\nIt was made by the celebrated court jeweler to the Russian Imperial Court, \"Carl Fabergé\", who has often been termed the \"Cellini\" of the nineteenth century.\nFrom the Alexander Palace at Tsarskoye Seloe.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1935\n  #1049\nExceptionally fine and long lapis lazuli necklace composed of one hundred and ninety graduated Siberian lapis beads of an exceptionally beautiful blue.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #92\nExceptionally beautiful and rare Imperial triptych icon, designed and executed by the celebrated Russian Court silversmith, \"Ovchinnikov\", and presented by the Nobility of the City of Charcoff to the Czar and Czarina, Alexander III [sic] and Maria Feodorovna, in celebration of the twenty-fifth anniversary of their marriage.  In this example, all the ingenuity and resources of the artist were concentrated upon the workmanship of so important a piece, created to celebrate so momentous an occasion.\nOpening the icon, the central panel of sumptuous Russian design frames the exquisite portrait of the Blessed Virgin, clad in golden robes finely chased and patterned.  The Virgin is wearing a crown sparkling with the brilliance of diamonds, rubies and emeralds, against a halo of filigree and enamel mounted with ovular-shaped pearls.  The faces of the Virgin and Child are painted in miniature, and it is remarkable with what perfection the characterization and the details are rendered.  Necklaces of diamonds and rubies appear around their necks, and on the cuff of the Virgin's sleeve, a diamond star with ruby center is mounted.  The Child is also portrayed wearing the diadem of diamonds against the small halo, on which appears in Old Russian the inscription in the form of an abbreviation: \"From God Proceeds\".  The background of the panel, filling in the serpentine-shaped Russian arch, is of sky-blue and forms a superb color contrast to the yellow gold of the Virgin's robes.  Over this background, a vinelike design is entwined, studded here and there with rosette-like stars.  Magnificently framing the large central panel, as well as the side ones, borders ingeniously wrought in all different types of chasing and filigree work are set with a variety of rubies, emeralds and sapphires, interspersed with rectangular panels done in soft shades of blue and red matte enamel.\nThe side panels appropriately depict in fine relief, left, \"St. Alexander Nevsky\" (the patron saint of Alexander III [sic]), in armor and wearing ermine robes wrought in virgin silver, and on the right, \"St. Maria Magdalene\", (the patron saint of Maria Feodorovna).  Above each at left and right, guardian angels kneel in the clouds in an attitude of devotion.\nClosed, the icon presents the fine filigree exterior framed in enamel, in the center of which there is a large Greek Catholic cross studded with rubies and sapphires.\nThe reverse is inscribed as follows: \"To Their Imperial Majesties from the Nobility of Charcoff.  1866-1891. October 28.\"\nIt is signed by the artist \"Ovchinnikov\" and dated \"1891\", the year of its presentation to the Emperor and Empress of Russia.  It is considered the finest jeweled icon ever created in Russia, and is the best witness to the mastery of this great artist.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #972\nSmall gold picture frame of outstanding beauty, by \"Carl Fabergé\", famous court jeweler to the Czar of Russia.  Of rounded, triangular shape, it has as its main area the chased guilloche surface enameled in light translucent blue, in a very graceful drape design.\n\"Fabergé\" was greatly renowned for this type of enameling and in this example, the enameling is further set off by a gold border chased with a wreath design of great delicacy.  The actual opening for the picture is surrounded with a row of diamonds and surmounted by a ribbon bow.  The back of the frame is paneled with ivory.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 2, 1936\n  #982\nParticularly beautiful icon depicting the \"Transfiguration\", showing \"Christ\" in an aura of light with (left), Elias, and (right), The Prophet Moses.  Below Him are James, Peter and John, (lower left, center and right, respectively).\nOf the most exquisite workmanship, both for its very expressive quality and perfection of detail, it is painted in an almost monochromatic color scheme, relieved by the touches of purple, green and blue in the gowns of the saints.  It is framed in translucent pale gray enamel with leaf and tendril design mountings, which are further [sic] enhanced by sapphires, emeralds and rubies.\nIt is by \"Carl Fabergé\", celebrated court jeweler to the Czar of Russia, and is a superb example of his genius.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 1, 1936\n  #1006\nExtremely interesting water color luncheon menu of the 21st of June, 1896, in the domain \"\"Eleenskole\", which belonged to the Grand Duke Sergei Alexandrovich, uncle of Nicholas II, the late Czar of Russia.\nThis menu was written and designed by the Grand Duchess Victoria Mellita of Hesse, wife of the Empress' brother, Grand Duke Ernst-Ludvig of Hesse, and who later became the wife of the Grand Duke Cyril Vladimirovich under the name of Victoria Feodorovna.\nThe menu bears the following original signatures: Czar Nicholas II; Czarina Alexandra Feodorovna; Grand Duke Sergei Alexandrovich; Grand Duchess Elizabeth Feodorovna, sister of the Czarina and wife of the Grand Duke Sergei; Grand Duke Ernst-Ludwig of Hesse, brother of the Czarina; Victoria Mellita, his wife; and Victoria, Princess of Battenberg, sister of the Czarina.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nFebruary 17, 1936\n  #1043\nExceptionally beautiful gold and silver picture frame containing a photograph of the Grand Duchess Anastasia, the youngest daughter of Nicholas II, the late Czar of Russia.\nThis frame of very imposing character with a large Imperial Crown and ribbons at the top, is enameled in a raspberry red, the shade which immediately became so popular upon its creation by \"Carl Faberge [sic]\".\nSurrounding the enameled guilloche surface, leaf design borders of green gold are finely accented with ribbons of reddish-gold.  Also the enameled surface is picked out with formally placed rosettes and leaves, in this same combination so skillfully employed by \"Carl Faberge [sic]\".  The back is paneled with ivory and is signed by this famous master.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 1, 1936\n  #1176\nA most interesting umbrella handle in the form of an Easter egg sculptured of very fine dark green jade.  On the bottom it is mounted in gold gilt silver which is exquisitely chased and enameled in translucent mauve.\nIt is a good example of the work of the outstanding master \"Carl Faberge [sic]\", who was so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #37\nMost intimate and rare photograph of the late Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  It is set in an unusually fine frame of lapis lazuli.\nThe photograph was taken by her husband, the Czar, on their private yacht, and is from the personal belongings of the Grand Duchess Tatiana, the second daughter of Nicholas II.\nFrom the Alexandrovsky Palace at Tsarskoye Selo.  It bears the original catalogue number 2004.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #991\nVery lovely little nephrite vase of deep green coloring, with fine gold and silver mounting on the rim.\nThis piece by \"Carl Fabergé\", court jeweler to the Czar of Russia, is of minute proportions, and is charming in both shape and design.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1088\nVery fine gold and silver calendar frame beautifully chased with translucent lavender enamel.  Finely carved borders of beadwork and closely set anthemions enhance the beauty of the design.\nIt is signed by \"Carl Fabergé\", the outstanding Russian Court jeweler, who has so often been termed the \"Cellini of the nineteenth century\", because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1097\nExceptionally fine gold and silver picture frame of outstanding beauty.  It is enameled over a chased (guilloche) pattern in translucent pink, the edges bordered with finely carved wreath design terminated with rosettes.  The small oval opening for the picture, attached at the top to swags of laurel leaves, is bordered with pearls.\nIt is signed by \"Carl Faberge[sic]\", the celebrated court jeweler to the Czar of Russia, and who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1179\nMost unusual and rare miniature ivory Easter egg by \"Carl Fabergé\", the celebrated court jeweler to the Czar of Russia.\nIt opens on a hinged cover to disclose the surprise feature within, - a pale nephrite egg set in the white satin lining.  It is an ingenious creation which is typical of \"Fabergé's\" work.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 2, 1936\n  #1306\nA most exceptionally fine dark green jade elephant very sensitively modelled, with upturned trunk and diamonds for eyes.  It is a magnificent specimen of the fine sculptures which were created by the master \"Carl Fabergé\", and shows very beautifully his singularly perfect craftsmanship.\nIt is rendered in most complete detail.  Ears, trunk, tusks, legs, etc., are all carefully cut and polished.\nIt is one of the rare examples of miniature sculpture executed in stone by \"Carl Fabergé\", and for which he is today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #476\nA most unusually fine handle of nephrite, pale green in color, mounted with a cobra naturalistically carved out of yellow gold and entwined about the handle.  The scales and small details are meticulously rendered, while on top of the snake's head, a pink cabochon-cut ruby is mounted as the eye of the cobra.\nMade by \"Carl Fabergé\", celebrated court jeweler to the Imperial family of Russia.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #478\nVery beautifully designed parasol handle in the shape of a fin, made of nephrite.  It is mounted with gold and finely enameled in an unusual shade of pink, and is studded with four pearls and two rows of diamonds.\nIt was made by the famous court jeweler \"Carl Fabergé\" (By Appointment to the Czar of Russia), and is a fine example of his craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #482\nVery fine parasol handle made of nephrite, in the shape of a duck's head, with rubies for eyes and a most unusual green enamel band.  At the base it is mounted in gold and set with two rows of diamonds.  It is exceptionally finely enameled in translucent pink, giving the effect of trees in sunshine, which is enclosed in borders of white matte enamel, with translucent green enamel dots completing the design.\nIt is the creation of the famous Russian court jeweler \"Carl Fabergé\", who has so justly been termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #537\nExceptionally fine cane handle of pale green nephrite, exquisitely designed with an open-work gold mounting of rococco [sic] scrolls and tiny flowers in two shades of gold.  The rim is studded with a row of diamonds.\nMade by the famous artist and court jeweler \"Carl Fabergé\", who is today so often referred to as the \"Cellini of the nineteenth century.\"\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #986\nA particularly beautiful and rare solid gold picture frame of a graceful, oriental shape, designed with entwining leaf tendrils set with the richest shades of the transparent enamel, which has today become a lost art and cannot be duplicated.\nIt is a fine example of the work of the famous court jeweler \"Hahn\", who created some of the most prized specimens of the Russian Court Jewels.  The superb workmanship of this master is evident in such details as the execution of the panel of ivory which holds the picture, also the gold easel supporting the frame.  It is seldom indeed that one has the privilege of seeing a piece created by this great artist.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #987\nRectangular gold picture frame of exceptional quality and refinement, by \"Carl Fabergé\", court jeweler to the Czar of Russia.\nIn this specimen, \"Fabergé's\" unique enamel, a translucent mauve is set off by a border wreath design of minute workmanship in two shades of gold.  The opening for the picture, a tiny oval, is enclosed with beadwork attached at the top to festoons and ribbons of classical inspiration.  The back is paneled with ivory.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1035\nMost unusual gold and silver picture frame enameled in brilliant emerald green over a finely chased surface.  Designed in a five-petal arrangement, the center bears a photograph of Nicholas II, the late Czar of Russia, enclosed in beadwork, while in each of the five sectors, oval panels frame the portraits of the five children of the Czar: the Czarevitch Alexis, and the Grand Duchesses Olga, Tatiana, Maria and Anastasia.\nThe borders of this very rare example are embellished with wreaths, rosettes and bows of classical derivation.  The back is paneled with ivory.\nExecuted by \"Carl Fabergé\", court jeweler to the Russian Imperial family, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1166\nVery fine silver triptych frame of translucent white enamel applied over a chased (guilloché) surface, framed in a conventionalized leaf border of meticulous carving.\nThe actual openings for the portraits, two rectangular ones in the outer panels and octagonal one in the center, are placed with the formalized precision of the classic taste.  Exquisite borders, festoons with ribbons, together with rosettes and beadwork, complete the ensemble.\nSigned by \"Carl Fabergé\", celebrated court jeweler to the Russian Imperial family, who is today referred to as the \"Cellini of the nineteenth century\" because of the perfection of his craftsmanship.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 9, 1936\n  #1189\nA very lovely handle of pale green nephrite, gracefully curved and tapered.  It is mounted with a gold cylindrical band chased and enameled in translucent white over a shimmering surface.  Rubies are placed over it and are incorporated with a design of green-gold festoons.\nThis example typifies the fastidious craftsmanship of \"Carl Fabergé\", celebrated Russian Court jeweler, who has so often been referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #804\nA very beautiful brooch in the shape of a laurel wreath exquisitely cut out of green and a reddish gold and studded with many small diamonds which form a part of the design.\nThe center bears the monogram \"M\" and crown, in diamonds, of the Grand Duchess Maria, executed with two cabochon-cut rubies with the Cross on top.\nIt is a very good example of the superb workmanship of \"Carl Fabergé,\" celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth Century.\"\nFrom the personal belongings of Maria Nicholaiovna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nApril 11, 1936\n  #1291\nAn unusually fine gold and silver seal of the round fluted type, mounted on the top with an exquisitely modelled monkey holding in its hands a human skull.  The monkey is contemplating the skull and in its animated attitude is a rare example of the silversmith's art.\nIn the base is set a white agate which is engraved with the monogram of Alexander Alexandrovitch, or Alexander III, father of Nicholas II, the late Czar of Russia.\nMade by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #980\nMagnificently conceived and executed Imperial Russian seal made with gold and silver stem, supporting a perfectly carved and polished agate Easter egg.  The setting holding the egg is of the most unusual and finely detailed workmanship.  It is in the form of garlands of roses carved out of several shades of gold, as well as silver, and is bordered with beadwork.  The stem likewise, is finely chased and consists of a polka dotted surface bound with a green gold wreath which flares out at the bottom into a circular base, the underside of which is minutely incised with the Russian Imperial double-headed Eagle.\nIt is one of the creations of \"Carl Fabergé, and fittingly illustrates his unique use of gold and rare semi-precious stones.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 18, 1936\n  #1085\nA most unusual egg shaped, gold mounted nephrite bookmark, encrusted with diamonds and rubies in the form of the initials \"XB\", which is an abbreviation for the Russian \"Christ is Risen\".\nA good example of the work of the celebrated court jeweler \"Carl Fabergé\", showing his rare ability to combine beauty with utility.  In the original Faberge [sic] case.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #533 duplicate\nA very fine cane handle of pale reddish jade in a solid gold setting, paneled and enameled in matte white.  Superimposed over the surface are crossed arrows of gold, each of which bears in the center a deep-red cabochon-cut Ural stone.\nBy \"Carl Fabergé\", court jeweler to the Russian Imperial family, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMay 20, 1936\n  #535 duplicate\nA very fine solid gold parasol handle of elongated pear shape, enameled in a most unusual shade of pink over a chased surface which imparts a scintillating tint of lavender.  A gold band dividing the enameled area into panels is chased with a wreath design of green gold, punctuated with tiny rosettes in red gold.  In the top a diamond is inset, and about the rim a lapis blue band is enameled.\nMade by \"Carl Fabergé\", the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #539\nA very unusual and rare red Russian nephrite cane handle carved in the shape of a duck's head.  It is mounted in vari-colored gold which is partly chased and enameled in beautiful translucent green and matte white and set with small diamonds.\nMade by the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so often been termed the \"Cellini of the nineteenth century.\"\nFrom the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nJuly 28, 1936\n  #1101\nExceptionally beautiful and rare miniature gold icon depicting \"The Holy Virgin and Child Enthroned\", set in an oval frame meticulously carved and chased with roses and emerald green leaves.\nThe painting is of the most minute dimensions and is superbly painted with a perfection of details and beauty of characterization rarely achieved.  At top, an interesting attachment is mounted with a blue sapphire, while from the bottom hang a pink ruby, an emerald and a pearl.\nThe icon bears an inscription meaning \"Save and Protect\", and is signed by the artist \"M. Chuknovsky\".\nIt is mounted in a beautifully designed triptych case of \"Old Russian\" design.  Hinges conform to the design of the case and are in solid silver intricately chased.\nFrom the personal belongings of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 26, 1936\n  #509\nExceptionally beautiful handle carved of a single amethyst set in a gold mounting and forming an exquisite terminal to a parasol.  The amethyst, beautifully carved, consists of two shells placed together on a Russian capital.  The gold mounting, so typical of \"Fabergé's\" workmanship, is intricately embellished with a repeating design punctuated all over with diamonds and enameled a lovely translucent pink.  The piece, combining as it does two shades of gold, is exquisitely bordered with two rows of diamonds superbly demonstrating the infinite amount of craftsmanship employed in a \"Fabergé\" creation.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who was so often termed the \"Cellini of the nineteenth century\" because of his unusually fine craftsmanship.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAUGUST 26, 1936\n  #997\nExceptionally fine circular cigarette container of gold and silver, enameled in an unusually beautiful shade of brilliant translucent red, and ornamented with swags and ribbons done in two shades of gold.  At top and bottom are finely fluted borders crossed at intervals with ribbons.\nIt is an unusually beautiful example of the painstaking craftsmanship of the celebrated artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who has so justly been termed the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #477\nSmall handle of exquisite delicacy and refinement composed in its miniature dimensions of a \"T\"-shaped piece of rock crystal set in a gold mounting finely bordered with a bead edge of yellow gold.  Between these borders in incredibly small scale, the gold is chased into a design of waving lines, enameled in light blue and set with three rows of diamonds alternately placed.\nThis is a specimen typical of the unsurpassed craftsmanship of \"Carl Fabergé\", and worthy of the most discriminating taste.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #479\nParticularly beautiful handle, exquisitely wrought and decorated in a most beautiful manner.  The handle proper, a piece of rock crystal, is set in a cylindrical gold mounting embellished with various gold and enamel borders.  At the top and bottom there are green gold wreaths against a deeper shade of gold.  The enameled decoration is formed of three gold bands exquisitely enameled in a light shade of blue.  Each one is minutely chased with a scale design which imparts a shimmering quality.  Over the central band of a very pale shade of blue, there is a fine gold double wreath.  On each side of this middle portion two rows of pearls enhance the superlative quality of this \"Fabergé\" creation.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #480\nBeautiful handle perfectly illustrating the artistry of \"Carl Fabergé\". \nThis handle, a combination of a well-cut and polished piece of milky-green nephrite, is set off by the complementary shade of orange in its gold and enameled mounting.  This mounting, connecting the handle proper with the main body of the cane, is wrought with great delicacy and refinement.  Against a curved surface of white matte enamel, minutely striped with gold, there are superimposed two crossed ribbons chased of greenish-gold and enameled with translucent orange.  Above and below there is a tiny row of diamonds effectively set in quite another shade of gold.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #481\nVery fine handle made of nephrite of a pale golden greenish shade, symmetrically curved and mounted in brilliantly enameled gold.  The main part of the mounting is chased with a design of many short curves and enameled raspberry red.  Curving around it in a ribbon effect there are four bands of leaves exquisitely worked in two shades of gold, namely, yellow gold and green gold.  Above and below, there are two rows of diamonds.\nIt is a good example of the fine workmanship of the celebrated court jeweler \"Carl Fabergé\".  \nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #536\nVery fine handle of attractive simplicity composed of a beautifully shaped and polished piece of nephrite in a gold mounting.  This mount, which forms the connection between the handle proper and the body of the cane is of hand-hammered yellow gold and is bordered at top and bottom with two green gold wreaths.\nIt is the work of the famous Russian artist \"Carl Fabergé\", court jeweler to the Czar of Russia, who is often termed the \"Cellini of the nineteenth century.\"\nOriginally in the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #538\n\"Fabergé\" handle executed in a most unusual manner of soft green nephrite in the shape of an egg affixed to a hand-hammered cylindrical gold mounting.  Starting from this mount and entwined over the egg-shaped surface, there is a golden snake, chased in all the precision of its naturalistic details.\nOriginally in the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOCTOBER 29, 1936\n  #665\nAn exceptionally fine gold and silver oval miniature icon (panagia), bearing in the center a beautifully painted portrait of the \"Madonna and Child\" in enamel, and framed with filigree work which is filled with unusually fine shaded enamel, showing tulips and other flowers, in the center of each of which topazes alternate with garnets.  The icon is surmounted by a large crown which is studded with a topaz, a garnet and two aquamarines.\nMade by the House of Nemirova Kolodrina (By Appointment to the Russian Royal Family).  Moscow.\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 29, 1936\n #989\nExquisite little octagonal nephrite box mounted with gold, and having hinged lid minutely chased with cherubs and flower garlands in low relief.  It is bordered with an egg and dart motif and tiny beadwork of classical derivation, while the canted sides are set with alternating rows of diamonds and rubies.\nMade by \"Carl Fabergé\", the famous court jeweler to Nicholas II.  The craftsmanship displayed in this piece adequately shows the reason he is so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the collection of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.  From the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #75\nCream leather frame with beautiful gold tooling, and crown in top center, made by \"A. Peterson\" at St. Petersburg (By Appointment to the Czar of Russia.)\nFrom the Winter Palace, where it was catalogued under the number 430/2.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #93\nGold and silver unusually fine icon portraying \"Madonna and Child\" and nine saints in miniature as follows:\n 1 – St. Peter – Metropolitan of Moscow\n 2 – St. Alexis – Metropolitan of Moscow\n 3 – St. Ivann – Metropolitan of Moscow\n 4 – St. Prince Michael\n 5 – St. Boyard Theodor\n 6 – St. Dimitry the Blessed\n 7 – St. Vasily the Blessed (In whose name the famous church in Moscow\n  was built by Ivan the Terrible.  The church upon completion was such\n  a beautiful example of Russian architecture that the Czar, fearing\n  that the church might be duplicated, had the architect blinded.)\n 8 – St. Michael the Martyr\n 9 – St. Ivann the Clairvoyant\nIn a most unusually fine hand-made frame with beautiful enamel inlay and various Ural stones.  It also bears the nameplate of Alexei Nicholaievitch, to whom it was presented by the Nobility of Nijni Novgorod.  The plate reads as follows: \"To His Imperial Highness Czarevitch and Grand Duke Alexei Nicholaievitch from the Nobility of Nijni Novgorod.\"\nIt was made by \"Chlebnikoff\" (By Appointment to the Russian Royal Family).  It is a remarkable example of the work of this fine Russian silversmith, who has made many outstanding objects for the Imperial family.\nIt is from the bedroom of the Czarevitch at the Alexandrovsky Palace at Tsarskoye Selo, where it was catalogued under number 70.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #906\nMiniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler cut out of a brilliant cerise-colored Ural stone set in a delicate open-work gold mounting.\nFrom the collection of the Grand Duchess Maria Nicholaievna, third daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1073\nExceptionally beautiful and rare jade frame, mounted with gold borders in pure classical taste composed with a meticulously chased wreath design in two shades of gold around the outside, and surmounted at the top by a ribbon and bow enrichment.  A finely fluted border frames the picture, while on the jade margin green gold festoons are attached to reddish gold rosettes.\nIt is a superb example of the fastidious workmanship lavished upon his creations by \"Carl G. Fabergé\", the celebrated Court Jeweler to the Czar of Russia, and aptly illustrates his unique use of the rare semi-precious stones which were found throughout the Russian Empire.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1075\nCircular gold picture frame of the most exquisite and delicate workmanship, chased with a shimmering guilloche pattern and enameled rich translucent amethyst.\nThe circular opening is bordered with pearls, while the outside is finely chased with a wreath design executed in two shades of gold.  The back is paneled with ivory.\nIt is in the original case and is signed by \"Carl G. Fabergé\", the famous jeweler to the Imperial Court of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1078\nExceptionally beautiful gold and silver picture frame of most unusual size, enameled in translucent sky-blue over a scintillating chased (guilloché) surface.\nThe broad enamel border is framed on the inside by a beadwork edge and on the outside by a delicately chased wreath design.  At the top, laurel leaf festoons of classical inspiration are caught by rosettes and held in the middle by an elaborately wrought bow and ribbon enrichment.  The back is paneled by hollywood.\nThe fine craftsmanship displayed in this example typifies the work of \"Carl G. Fabergé\", the celebrated Court Jeweler to the Russian Imperial family.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n #1182, #1183, #778\n#1182. Miniature solid gold Easter egg signed with the initials of \"Carl G. Fabergé\", the celebrated Russian Court jeweler chased with the \"guilloche\" all-over pattern enameled brilliant emerald green.  Serving as complement to the green enamel a gold circle and stripes are set with a small ruby.\n#1183. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler.  Of a yellow gold it is chased and set with nine cabochon-cut rubies.\n#778. Solid gold miniature Easter egg by \"Carl G. Fabergé\", the celebrated Russian Court jeweler executed in yellow gold with green gold wreath design and filigree volutes set with two small diamonds.\nFrom the collection of the Grand Duchess Tatiana Nicholaievna, second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1315\nVery fine miniature picture frame, delicately designed with fluted and wreath design borders enclosing a chased (guilloche) surface, enameled brilliant orange.\nAt the corners of the actual opening for the picture, pearls are set in, while on the enamel, circular wreaths are mounted, together with crossed arrows.  \nBy \"Carl G. Fabergé\", the celebrated jeweler to the Russian Imperial court, who is today so often referred to as the \"Cellini of the nineteenth century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nDecember 1, 1936\n  #1350\nPaper knife of richly grained tortoise shell, of unusual personal interest.  It is mounted with a solid gold facsimile reproduction of the inscription \"For Dear Alix\" (the Czarina Alexandra Feodorovna) \"from Misha\" (the Grand Duke Michael, brother of Nicholas II, the late Czar of Russia.)\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle] \nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1343\nVery fine Easter egg cut out of a blue agate and decorated with a continuous motif of sprigs of four-pointed flowers and leaves cut out of silver and set with a myriad of tiny diamonds.\nIt is a signed piece by \"Carl G. Fabergé\", the celebrated Russian court jeweler who is today so often referred to as the \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1364\nAn exceptionally choice fantaisie by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nSigned and in the original case, this unique tray of gold gilt silver is mounted with a stand to which is attached an ivory swing on which perches a paraquet [sic] cut directly out of a rare brilliantly colored agate, the natural markings of which delineate the feathers in the minutest detail.\nEmeralds are set in for the eyes and the whole presents an astonishingly life-like aspect.  On either side of the swing tiny containers hold the golden kernels of birdseed.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nJanuary 1, 1937\n #1367\nA circular gold box signed by \"Carl G. Fabergé\", the celebrated Russian court jeweler.\nIt is enameled brilliant red over a broad guilloche line pattern, and mounted with intricate little vari-colored gold motifs of interlaced wreaths and rosettes having diamond centers.\nFive wreaths ornament the cover and frame a portrait of Catherine the Great which is dated 1773.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1464\nMiniature picture frame by CARL G. FABERGE cut from lapis lazuli in a quaint design, the bright blue surface overlaid with a vine-like wreath of tiny flowers executed in the greatest delicacy from green, reddish and yellow gold.\nIt is set with three diamonds.  The actual opening for the picture is bordered with pearls.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of\nRussian Imperial Art Treasures\nRockefeller Center, New York\nMarch 19, 1937\n #1537\nA most important miniature sculpture of a horned owl by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is rather larger than many of his famous bird and animal sculptures and is cut entirely from a moss agate, the green and gray markings creating a superb sense of the texture of feathers which are finely incised all over.  The claws are of gold and beautifully chased, and, together with the gold-mounted diamond eyes, the whole creates an astonishingly life-like aspect.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1546\nSilver gold-gilt buzzer for the table, of conical beehive shape with a large cabochon-cut ural stone in the center. \nIt is a device with clock-like movement, to be wound up, and when used gives a quiet, low, buzzing sound.\nCut into the silver by hand, a collar of long leaves surrounds the stone button.  The sides are decorated with chased garlands and around the base there is a beadwork border.\nBears the hallmark and signature of CARL G. FABERGÉ, the celebrated Russian Court jeweler.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nMarch 19, 1937\n  #1578\nGold chain bracelet of large heavy links, by CARL G. FABERGÉ, the celebrated Russian Court jeweler.\nIt is mounted with an Imperial Crown studded with diamonds and two cabochon-cut sapphires, and is mounted also with a small safety catch chain arrangement.\nFrom the personal belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1556\nGold gilt silver triangle frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, enameled in a brilliant Russian blue over a chased (guilloche) surface, the latter by its zigzag pattern emanating from the center, imparting an additional richness.\nThe circular picture opening is bordered with pearls and set with a beveled glass with the outside border in beadwork.\nThe back is paneled with ivory, while the easel is of gold gilt silver.  In the original hollywood case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1573\nA small pin in the shape of the regular octagon executed in a brilliant yellow gold with chased (guilloché) surface in the form of a sunburst enameled translucent white.\nIn the center of each of the eight sides, a diamond is inset and in the very center, surrounded by a laurel wreath, is the Roman number \"ten\" in diamonds.\nSigned by CARL G. FABERGE [sic], the celebrated Russian Court jeweler, who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1576\nA pin by CARL G. FABERGÉ in the Egyptian style, in the form of a large scarab cut from a spinel ruby enclosed with conventionalized lotus flowers in blue enamel with diamond stems, large diamond center and gold and silver mounting.\nA superb example of the work of the celebrated Russian Court jeweler who is today so often referred to as the \"Cellini of the nineteenth century.\"\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1580\nAn exceptionally beautiful Easter egg by CARL G. FABERGE [sic], celebrated Russian Court jeweler, executed in solid gold in his French classic style.\nIt follows in technique the French eighteenth century gold snuff boxes with a ground of cobalt blue translucent enamel.  Unlike most of FABERGE'S [sic] surfaces, the chased (guilloche) pattern also follows the traditional type used on the snuff boxes and is merely visible as faint rays on the enamel surface.\nAround the center, there is a broad vari-colored gold band carved in a minute serpentine pattern, together with leaves and berries enameled red and green, giving the appearance of tiny jewels.  On top and bottom of the egg, circular caps bear ten-pointed rosettes enameled in green.\nThe three divisions are further elaborated by the addition of three bands of white matte enamel dots, one of which in the center row, is a tiny diamond catch.\nBears the inscription which may be seen as one opens the egg \"Christ Has Risen.\"\nFrom the collection of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1661\nSmall solid gold handle with sharply curved top, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in his classic style with three shades of gold employed.\nThe shaft is delicately fluted and is overlaid with a green-gold festoon and diamond rosette.  About it, a delicately carved green-gold wreath design is chased.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1736\nJade parasol top mounted in gold by CARL G. FABERGE [sic], the Russian Court jeweler.\nIt is designed with fluted ball-shaped handle of a deep green jade set into a circular gold mounting chased in a plaid design and studded all over with rubies and diamonds.\nOn the summit it bears a cabochon-cut ruby surrounded by a row of diamonds.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #1737\nJade parasol top mounted in gold, by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is designed with slender handle in a deep green translucent jade set into a circular white enameled mounting.\nA green-gold wreath is festooned around it and mounted on top with a fine moonstone.\nFrom the personal belongings of Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2237\nTiny solid gold oval box by CARL G. FABERGÉ, the celebrated Russian Court jeweler.  \nIt is designed with alternating green and narrow blue enamel stripes, and bears on the cover an oval carnelian minutely engraved in the Arabic script with excerpts from the Koran.  It is surrounded by a row of diamonds.\nLike all of FABERGÉ's boxes, the fit of cover to box is a notable instance of his technique.  Here also he has employed the hinges which appear on the finest eighteenth century gold snuff boxes.\nIt is one of the best examples of his craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #2238\nRare miniature Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe egg form is executed in solid gold overlaid by settings of silver for the bands of diamonds which rise from the bottom and cover the lower portion of the egg.  From these bands, tendrils arise and, entwining over the gold surface of the egg, are executed in diamonds.\nThe bottom bears a cabochon-cut ruby.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-3\nRectangular miniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed from gold-gilt silver and is enameled over a chased (guilloche) surface in a very beautiful shade of rose.  Borders of wreath design frame the enameled ground, while the opening for the picture is enclosed with beadwork.  The back is paneled [sic] with ivory.\nFrom the Youssoupoff collection.  Originally it was presented to the Princess Youssoupoff by the Empress Maria Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-5\nMiniature picture frame by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed in unusually small dimensions in solid gold with a jade center surrounding the tiny opening for a picture.  Concentric fluted gold rims separate these areas.\nThe jade is of a dark, spotted green and in contrast to it, a pale mauve enamel is employed overlaid by an interweaving green-gold wreath.\nAt top, a ribbon with bow and loose ends is fixed, bearing a ruby in the center.  It is mounted with a gold easel.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-8\nA miniature icon by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is in the form of a triptych and is very simply panelled [sic] on the exterior with a dark wood bearing a four-petaled [sic] catch centered by an emerald.  It opens to disclose a solid gold interior.  The three panels are executed in a brilliant yellow gold bearing three Russian arch-shaped panels bordered by pearls.  The yellow-gold ground bears arabesques of filigree and is studded at significant points in the design with emeralds, rubies, sapphires, and diamonds.\nThe central panel frames \"The Resurrection.\"  Against a dark background, the figure of Christ appears holding aloft a pennant.  His form radiates light and in the foreground, two angels kneel.\nIt is an extremely fine painting for a miniature and is complete in every detail.  It is surmounted by a Russian Cross studded with emeralds and rubies.\nThe inscription on the left panel reads as follows: \"Resurrection of Thine, O Christ, Saviour, about which the Angels sing in Heaven.\"  And on the right panel: \"And we on Earth try to be worthy to glorify Thee.\"\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-13\nDome-shaped jade push-button by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the classic French style adapted by FABERGE [sic], the jade is of a dark green color cut into relief with rows of small rococo scrolls curving up over the top to join a central motif bearing the button.  The button is a cabochon-cut star ruby set in a nine-petaled [sic] mounting of diamonds.\nThe jade is mounted in solid gold of a bright yellow color and, following in this style, is finely chased with flutings which are crossed with evenly spaced ribbons.\nMounted on three gold feet in the form of rococo scrolls.\nOriginally in the collection of Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-14\nGold-mounted jade calendar by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIn the form of a rectangular piece of dark, translucent green jade, it is designed in his classic manner and mounted with gold-gilt back and easel.  At the top, swags of green gold are contrasted with a reddish gold, the latter taking the form of crossed ribbons and exuberant ribbon bows, a larger one in the center and two smaller ones flanking it.\nIn the very center, two oval openings bear red enameled mounts which have the numbers for the day of the month, and these are changeable each day by clicking the buttons on either side.  Below, on a set of gold-gilt plaques, the names of the months are engraved and held in place by red enamel and moonstone mounts.\nOriginally in the collection of the Countess Brassoff.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nAugust 18, 1937\n  #G-16\nLarge jade Easter egg mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nOf a fine green jade bearing a spotting of a darker green, the stone is cut out to paper-like thinness, making it translucent.\nMounted in a bright yellow gold-gilt silver and bearing ruby catches with which to open it.\nIt originally served as a jewel case.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1509\n\"The Cathedral\", a most important nineteenth century Russian icon painted in the miniature technique on gold over silver.  Against a ground of geometrical chasing, the various figures are painted with flowing gowns of white, purple, red, and bluish-green, with their haloes inscribed in the Old Slavonic.\nIn the clouds, the Holy Virgin stands, her halo emanating rays of light, with kneeling saints and angels on either side.  Below Her, appear, left; Czar Lev, and St. Czarina Zoia; center, St. Roman; right, St. Epiphanie, St. Andrew, St. Martyr Lubov (the small figure in white), and the Archangel Michael.\nIt is in the original frame of filigree, inset with the Russian enamel in jewel-like colors.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1568\nCross cut out of a fine rich blue piece of lapis lazuli.\nIt is mounted in gold and has a moveable diamond and pearl studded link.  The center of the cross is overlaid with a diamond studded rosette which has a pearl center.\nFrom the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1591\nSmall cushion-shaped box of gold and silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is executed entirely in canary yellow enameled over a chased (guilloche) surface, and opens with a small pearl-bordered lid having a ruby catch.  It is decorated on top with a diamond and ruby six-petaled [sic] flower which forms the center of the fine guilloche pattern.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1934\nA large and most important Russian icon of gold gilt silver by KLEIBER, (By Appointment to the Russian Imperial family), presented to the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia, on her birthday, May 29, 1897.\nIn the long rectangular panel it depicts \"St. Martyr Tatiana\", the patron saint of the Grand Duchess.  Against a background of chased geometrical motifs, she appears, clad in a long blue gown reaching to the floor, over which is a loose flowing mantle of rose red.  In her left hand she raises the white sash of her garment and with the other is seen carrying a lampadka.  Above her in the clouds, \"The Holy Virgin\" appears, Her arms upraised in benediction.  The icon is bordered with elaborate frame, entirely of hand-carved and chased work, showing a profusion of acanthus scrolls, rosettes and anthemions.  At the corners, eight-winged cherubims are placed.\nThe presentation inscription at the bottom of the icon reads: \"May 29, 1897.  The City of Peterhof\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #1956\nMiniature diptych icon by CARL G. FABERGE [sic], the Russian Court jeweler.  It is executed in gold-gilt silver and in design follows an ancient prototype.  The doors are of the Russian foliated arch-shape coming to a point at the top, with the front one decorated in a most elaborate manner.  Perhaps harking back to the Byzantine reliquaries and ecclesiastical utensils, this is studded with large stones.  Against the gilt surface, red Ural stones are contrasted with turquoise and pearls, and set into an entirely hand-carved design of Byzantine scrolls which twist and entwine over the entire panel.\nA border of evenly spaced pearls frames this panel, and within the icon, is repeated around the meticulously painted miniatures of the two Saints.  On the right is \"St. Nicholas the Miracle Worker\" and on the left \"St. Princess Alexandra\", the patron saints of the late Czar and Czarina, to whom the icon was presented.  The reverse is inscribed with the names of the donors, as follows: \n Princess Galizina; Countess Belefskaya; E. A. Schneider; Countess A. A. Olsufeva; E. H. Kozlaninova; Princess A. H. Lubanova-Rastovskaya; M. A. Vasilchikova;  Count and Countess G. G. Stanbok; M. P. Stepanov; V. S. Gadon; Prince and Princess Youssoupoff; A. A. and M. P. Stakhovitch; Count and Countess Shuvalov; B. Q. Junkovsky; K. A. and L. G. Balasnaya; A. P. Korniloff; A. L. Martinoff\nFrom the Winter Palace.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2136\nJade parasol top mounted in gold-gilt silver by CARL G. FABERGE [sic], the celebrated Russian Court jeweler.\nIt is cut from the jade in a very curious manner with tapering, bulbous areas up the sides, flaring outwards to the top which is designed in a four-petaled [sic] manner.  In this specimen, the jade is of a soft but brilliant green coloring.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #2243\nAn example of the miniature sculpture of CARL G. FABERGE [sic]: a pig cut out of lapis lazuli.\nIn this example of the Russian master's work, the lapis selected is a brilliant blue with rich markings and flecks of gold.\nIt is executed in an extremely naturalistic manner with such details as hooves, ears, and mouth minutely detailed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 1, 1937\n  #G-22\nVery unusual miniature diptych icon of solid gold by GRATCHOV, by Appointment to the Russian Imperial Family.\nIts design is perfectly plain on the exterior, and on opening it discloses miniatures of Jesus Christ on one panel and the Holy Virgin of Kazan on the other.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #798\nVery unusual panagia portraying \"Christ Blessing the Universe\".\nIt is carved out of green jasper in a two-colored effect, and mounted in a very interesting hand-made silver frame surmounted by crown [sic] and studded with amethysts, rubies and aquamarines. Attached to it is a gold gilt silver chain cut out by hand.\nRussian, early nineteenth century.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\nOctober 11, 1937\n  #1205\nExceptionally fine solid silver triptych icon designed with serpentine pointed top, and overlaid on the front with gold leaves and tendrils molded and chased to perfectly simulate the gold bullion work motifs to be found on the finest Russian brocades.\nOpening the side panels of the icon, which bear in the center the Greek Catholic cross, the central panel is painted with the \"Transfiguration\", against a pure gold ground.  Christ stands in the center with Elias on the left and Moses on the right, while below there are: left, \"John\"; middle, \"James\"; and right, \"Peter\".  The side panels frame at the left, \"St. Elizabeth\", and on the right, \"St. Sergius of Randanezh\".\nAll of the individual paintings are equally notable for a beauty of characterization as well as for the unusual finish of details.  A narrow border frame in emerald green, gold, red and black completes the design.\nThe icon bears on the reverse the dedication to Grand Duke Serge as follows: \"Blessing of the Preobrajensky Regiment, June 3d, 1884\".  \"A new commandment I give unto you, that ye love one another as I have loved you\".  \"From the New Testament, St. John, Chapter 13, Verse 34).\nThe names of the donors are inscribed (etched in the silver) over the sides of the icon.  They are as follows:\n Middle lower: Baron Medem, Kovansky, Count Murafief, Amursky, Neidhart, Kornileff, Count Titischoff. \n Right wing lower: Martinoff, Count Von Preil, Penherzhevsky, Gadon.\n Left wing lower: Belgard, Martinoff, Obahoff, Dolgoff II.\n Right top dome (front): Hartons, Belhart, Domerishkov, Veltzin, Kazin, Zhehacheff;\n         (back): Chekmareff, Komaroff, Palivin, Muravieff, Shipoff,  Schmitt.\n Left top dome (front): General Major Prince Obolensky, \n Left top dome (front) continued: Evreinoff (meaning in Russian \"Son of the Jew\"), Korniloff, Ladishensky, Dolhoff.\n   (back): Second Lieutenant Shemiakin, Bakalin, Lt. Peshkoff, Baron Medem.\nRight side (top): Admiral Ozeroff, Novisitzogg, Kasherinoff, Under Captain Haller, Heirot, Epanchin, Baliasny, Forselles, Vosnesensky, Surelius.\nRight side (bottom): Kashneff, Malahoff, Bashiloff, Mescherinoff, Merder, Neidhart II, Prince Troubetskoy, Loshhereff, Delsal, Count Loris-Melikoff.\nLeft side (top and bottom): Pensky, Kushkovsky, Adjutant Reiters, Count Stenbok, Captain A.G. Korostovitz, Kakoshkin; Schlitter, Delsal, Janetzky, Mirkuloff, Veimarn, Gardenin, Navrotsky.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2443\u003c/p\u003e\n","\u003cp\u003eGolden flowers in a rock crystal pot. Three (3) gold \"TROLLIUS EUROPAEUS\" (Globe Flowers) are made of solid gold, the actual blooms being enamelled (sic) in a clear translucent yellow. The petals are all finely chased underneath the enamelling (sic), emphasizing the translucency of the enamel. The stem, which is also of gold, is grooved with hair-like stripes and is lightly colored in the palest of green tints. The leaves which are very realistically carved from a dark green jade are veined and folded in an accurate duplication of nature's own. Each stem is signed, K. FABERGE, in Russian characters and bears the Russian Imperial Eagle. The conical pot in which these removable flowers stand, is carved from a solid block of rock crystal in such manner as to suggest a natural water-line which is as true to life as the actual would be. On the underside of the pot appear the Russian characters for K. FABERGE.\u003c/p\u003e\n","\u003cp\u003eThis very beautiful object was made by the celebrated Russian Court Jeweler, KARL FABERGE and the piece is extremely rare in that seldom were objects of this type marked with his full name.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nA LA VIEILLE RUSSIE, INC. \n785 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003eNovember, 1945\n#2891\nLapis-Lazuli combination seal and letter-opener. The handle is a long, bulbous-shaped piece of Lapis-Lazuli, beautifully curved in symmetrical pattern with a gold, hand-chased, ferrule. The blade and the seal, which are interchangeable, are of silver-gilt.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#181\nVery fine enamel miniature portrait of the Grand Duchess Olga, the eldest daughter of Nicholas II, the late Czar of Russia.\nIt is painted on silver and is enclosed in a gold and silver frame of beautiful bead design, surmounted by crown. Both the frame and the miniature are exceptional in quality.\nFrom the personal belongings of her father, Nicholas II. From the Alexandrovsky Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York\n#540\nVery unusual and rare rock crystal cane handle, with the head of a dog etched and enameled inside of the crystal ball in amazingly realistic fashion. It is a superb example of the artistry and craftsmanship of the famous court jeweler to the Czar of Russia, \"CARL G. FABERGE\", by whom it was made, and who was often referred to as the \"Cellini of the nineteenth century.\" \nThe globe of crystal, bound about by gold, is affixed to a wide stippled mounting studded at intervals with diamonds, rubies, emeralds, and sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nRockefeller Center, New York.\n#598\nPair of superb Wedgwood medallions, one portraying Czar Nicholas II, the late Czar of Russia, the other, his wife Czarine Alexandra Feodorovna. \nThese rare masterpieces of Wedgwood ware, the greatest of all ceramics, are exquisitely executed in white low relief on a soft green ground. In the perfection of the details and the characterization of the personages represented, they show the painstaking craftsmanship and distinctive elegance of this art.\nOn the back of each of the medallions there is the mark \"Wedgwood\" and in script \"The Czar of Russia\" and \"The Czarina of Russia\", respectively.\nThey were purchased from Madame Anna Viroubova, former lady-in-waiting and personal friend of the Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1022\nMost artistically conceived and executed miniature triptych icon sculptured out of solid gold, and signed by K. HAHN, who made some of the Crown Jewels of Russia. \nOf tiny proportions, this triptych is of a most exquisite design. Shown with the two side panels closed, it exhibits the pierced work border which frames panels with cherubs enameled blue and red. At the top, these doors are surmounted with a sunburst, in the center of which is a dove with outspread wings.\nOn opening the icon, one sees \"Christ Blessing the Universe\". On the left is \"St. Nicholas\", the patron saint of Nicholas II, and on the right is \"St. Alexander Nevsky\", the patron saint of Czar Alexander III. It was presented by Alexander III to his son and successor Nicholas II, with his blessings. At top, the Almighty is depicted with surrounding inscription which reads \"Save O Lord Thy People\". Placed over the hinges and crowning the top of the central panel, three fluted Russian domes are placed, each surmounted by the Greek Catholic Cross.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1044\nCircular gold picture frame of unusually small proportions by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased (guilloche) surface in sky-blue. The border and the inner round opening for the picture are enameled in matte white, bordered with gold. It is surmounted by a gold bow and ribbon enrichment.\nIt contains an original miniature of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1291\nGold gilt silver pencil bearing at its summit a tiny, finely formed mongoose, also of gold gilt silver. \nIt was part of a complete writing set of Czar Alexander III, made by Thomas Cole of London.\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#1326\nTo celebrate the two hundredth anniversary of the founding of the capital-city St. Petersburg, the late Czar, Nicholas II, commissioned the court jeweler CARL G. FABERGE, to execute an Easter egg to be presented to the Czarina in honor of the occasion. CARL G. FABERGE, jeweler to Czar Nicholas II and to his father Alexander III, had since 1885 executed an Easter egg yearly to be presented by the sovereign to his wife. However, to celebrate so great an occasion in the annals of the Romanoff family, this egg was planned many years before the date of the anniversary and was ready in 1903. When completed, it proved to be the most sumptuous and magnificent of any ever constructed.\nAt the highest point, the egg measures almost six inches, and at the widest four inches, and is constructed entirely of solid gold. (It is marked \"72\", the equivalent of eighteen karat gold). Covering its surface, an elaborate rococo design forms in its many curves, panels and areas perfectly suited to the particular type of workmanship which Fabergé excelled in designing and his workmaster M. Perchin in executing. The rococo curves are perfectly suited to the egg-shape, and are studded with hundreds of diamonds and scores of rubies. Intertwined bullrushes [sic] arising from the lower part of the egg are done in green gold, against the yellow gold surface, and show Perchin's superb chasing and minute detail. Cat-tails of square cut rubies give the touch of color which is so significant a feature of the egg, and are entwined with garlands of roses contrasting various shades of gold with platinum. On the top of the egg, the diamond monogram of the Czar is enclosed in a wreath enameled in white and emerald green. Around the upper and lower part of the egg are white enameled ribbons, explaining in Russian the significance of the occasion for which the egg was created.\nTwo miniatures around the middle bear portraits of Peter the Great, founder of St. Petersburg (in 1703), and Nicholas II, during whose reign the bicentenary was celebrated (in 1903). Emphasizing the evolution of St. Petersburg during these two hundred years, two other miniatures frame views of the cottage which Peter built on the low-lying ground by the sea, and which was to be the Russian capital, in contrast to the Winter Palace with its grounds as it was under Nicholas II. In the distance of the latter can be seen the Fortress of Peter and Paul with its spire. These four paintings are by VASSILY ZOUEV, with whom Faberge collaborated. He was the most celebrated miniaturist in Russia and was as well miniature painter to the court. Rock crystal was employed instead of glass to cover these paintings and it exactly fits the many-sided panels. The egg bears at the top the monogram and crown of Czar Nicholas II done in diamonds and the date 1703 when St. Petersburg was founded, as well as the date 1903, when the egg was made in celebration of that event. At the bottom, the double-headed Eagle, insignia of the Imperial family, is enameled in black surmounted by the Imperial crown set with diamonds. Over its breast a portrait diamond covers a tiny crest of \"St. George and the Dragon\" enameled in color.\nThe greatest feature of all, however, is concealed within the egg. On opening it, the mechanism within raises a miniature statue of Peter the Great from the interior. It is executed in solid gold by the Russian Court sculptor G. MALYSHEW, and stands on a sapphire pedestal. It is an exact replica of the colossus representing Peter which to this day stands on a square in St. Petersburg, and which was created on the order of Catherine the Great by Falconet.\nIt is interesting to note that besides the usual hallmarks that were always used, the egg bears the engraved signature \"K. Fabergé\" and the date 1903. This egg is considered to be the chef d'oeuvre of this great master.\nIt was illustrated on page 3 of the Russian magazine \"Stolitza et Usadba\" in the April 1, 1916 issue, which was devoted to a description of the Imperial Easter eggs. They were reproduced by special permission of the Czar, and the Peter the Great egg is the first illustrated. It was also reproduced and described in the November, 1936 issue of \"The Connoisseur\" on page 284, as well as in the \"Art News\", in its issue of November 7, 1936, on page 16, and in \"The New York Sun\" of October 31, 1936, page 17.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1479\nA good example of the miniature sculpture of CARL G. FABERGE, the Russian Court jeweler; a baby vulture carved from obsidian and shown seated in a most natural attitude. \nIn its small dimensions every detail of the anatomy is correctly and precisely cut even to a chasing of the individual feathers. The sheen of light within the stone running through front to back creates a varying surface texture as the piece is moved in the light, shifting from a downy grayness to jet black.\nDiamonds are set in for the eyes.\nSigned \"C. Fabergé.\"\nFrom the Alexander Palace at Tsarskoye Selo.\nMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1524\nCovered jade vase in a brilliant gold gilt silver mounting.\nIt is designed as a small covered chalice cup, the deep green jade forming the cup part, and mounted on a narrow stem flaring out into a circular base. The jade body is slightly tapered and curves out by means of concentric flutings into a rounded underside. The upper part bears a fluted gold rim and above it the cover is fitted. This is slightly domed and bears on its summit a high, cabochon-cut pink tourmaline as a knob.\nSigned by FABERGE, the well-known Russian Court jeweler, who is today referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1543\nMiniature picture frame enameled in mauve, signed by CARL G. FABERGE, the Russian Court jeweler.\nIt is designed in his French classical manner with a narrow mauve-enameled ground bordered by the motifs associated with this style. \nAround the beveled glass there is an edge of white matte enamel separated from the mauve surface by a tiny fluted border crossed with ribbons.\nAn outer border of beadwork encloses the frame and over the enameled surface rosettes with short swags are mounted.\nBears a hinged easel with the name \"Victoria\" lettered in openwork.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1569\nA large Imperial Russian Crown in gold and silver, and designed with leaves, tendrils and flower forms set with numerous cabochon rubies, cabochon sapphires and diamonds.\nIt is mounted at the top with a diamond-set Greek cross, and a diamond-encircled sapphire.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1735\nGold-gilt silver triptych picture frame by CARL G. FABERGE, the Russian Court jeweler, containing an exquisite drawing.\nThe entire frame is paneled with the ivory-like hollywood and the triptych doors are clasped in the middle by a Greek Catholic cross.\nOpening the doors, he drawing is seen to be set into an oval opening covered with beveled glass and surrounded by a row of pearls.\nThe ground surrounding the drawing is in Faberge's white enamel, given a great brilliance by the chased undersurface. At the corners winged cherubs are placed.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1749\nUmbrella handle in the form of an eagle's head, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe head is carved in a highly stylised (sic) manner out of a light green jade, with the eyes fashioned of two large beautiful red Ural stones mounted in gold. The white translucent enamel of the mounting is the type which Fabergé perfected and its sheen is further heightened by the guilloche under-surface. At the top and bottom it is bounded by bands of wreaths in vari-colored gold.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#1763/2723\nVery rare miniature animal studies of an elephant by CARL G. FABERGE, the celebrated Russian Court jeweler.\nOne is in silver, and is fully signed by the master, while the second, in gold, is unmarked. This was most likely made as a mate to the silver one. Presumably, they were silver and golden wedding anniversary gifts.\nThey are both modelled in an extremely naturalistic manner, with all the characteristics of the animal carried out with great fidelity to nature.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2122\nAn original photograph from the collection of the Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\nIt shows a whole group of photographs of the Czar, Czarina and their children. A large photograph of the Czar himself, is in the center, flanked by smaller ones showing the Czarina with the Grand Duchesses Olga, Tatiana and Maria. \nFrom the Hermitage Museum. Originally in the Winter Palace.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2247\nGold mounted sapphire-studded rock crystal perfume vial by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed in a cylindrical manner banded about the opening with gold, and bears a gold cover enameled in a translucent white. The whole bottle is studded all over in a polka-dot arrangement with cabochon-cut sapphires and bears about the opening a Greek fret chased in the gold.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2278\nA charming fantaisie by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn a solid gold cage perched on a golden bar on which rest two tiny golden containers for seed, is a parrot cut out of a single piece of pink quart with ruby gold-mounted eyes and gold claws.\nIt is a very fine example of Fabergé's animal sculpture. In its life-like presentation, all the details of feathers, wing and attitude are faithfully rendered and, most naturalistic in aspect on one side of the cage, is a tiny door of fine construction which is typical of the work of this master.\nThe cage rests on a slab of red nephrite highly polished and harmonizing so beautifully in color with the red gold cage and the pink color of the parrot.\nIt is a signed piece by this celebrated artist and is indeed a creation making him worthy of the title \"Cellini of the 19th century.\"\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2279\nKovsh by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of rock crystal into which is etched a highly conventionalized all-over leaf pattern. The shape is exquisite, being wide and flat.\nIt stands on a gold base with four feet each extending from a leaf. Around the rim is a gold mounting which comes to a point at the front and bears on its summit a pear-shaped pearl in an open-work gold mounting. The handle also, is carved out of gold into the form of a female head surrounded by leaves and flowers, and is embellished with nine small and one larger ruby and two rows of diamonds, one of which serves as a necklace for the figure.\nThe piece, elaborate as it is in its sumptuous decoration, somehow give the feeling of utter simplicity because of the harmony of the movement of line. It is a specimen of Fabergé's work which amply earns for him the title \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2281\nInteresting miniature Easter egg carved out of opal. It combines most beautifully a rich brown with iridescent shades of greens and blues.\nBy CARL G. FABERGE, the celebrated Russian Court jeweler.\nFrom the personal belongings of the Grand Duchess Olga, eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2297\nSolid gold pin in the shape of a wild rose, very beautifully enameled in a soft shade of pink and giving a most delightful and lifelike effect.\nFrom the personal belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2299\nA most unusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler, who is often referred to today as the \"Cellini of the nineteenth century\".\nBeautifully conceived and executed, it represents a spray of lilies-of-the valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade. The spray stands in what appears to be a red clay flower [underlined] pot filled with moss, but the pot actually is of silver and enameled in a matte brick red, the color of the natural clay, while the moss is of gold, so artfully employed  that one can scarcely believe that it is not actually moss.\nSo ingeniously is the entire object executed that it gives a most lifelike and naturalistic effect. One feels that the flower is planted in the pot, and only upon closer examination does one realize that the whole is created from such precious materials as gold, silver, pearls, diamonds and jade.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2300\nUnusual flower creation by CARL G. FABERGE, the celebrated Russian Court jeweler.\nBeautifully conceived and executed, it represents a spray of lilies-of-the-valley [underlined] fashioned of pearls with diamond tips, on a gold stem and with two large leaves of jade.\nThe spray stands in what seems to be a glass of water, but what is actually a rock crystal vase so created as to give the perfect illusion of water.\nSo ingeniously is the entire object executed that it gives a most lifelike effect. One actually feels that the lily-of-the-valley is standing in the water and only on close examination does one realize that the whole is created from gold, pearls, jade, crystal, etc.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2322\nAn exceptionally fine miniature sculpture of a blood hound by the celebrated Russian Court jeweler CARL G. FABERGE.\nThe animal is carved from a single piece of vari-colored agate ranging in shade from a light gray to a reddish brown. He is shown in the attitude of following the scent, and most noteworthy in this specimen is the impression one gains of his great strength and power. The lowered head, the sniffing nose, the upcurled tail, and long ears almost touching the ground, are all most remarkable, and most life-like. One actually seems to feel that the dog is following one, so realistic is the whole creation.\nIn its small dimensions every detail of the anatomy is correctly and precisely carved, even to the chasing of the individual markings on the dog. Diamonds are set in for the eyes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2323\nMiniature sculpture by CARL G. FABERGE, of an eagle, carved from vari-colored brown and gray agate, and with feet of gold.\nIt is an exceptionally fine example by this great Russian artist, and every portion of the bird's anatomy has been minutely carved with the greatest attention to detail.\nThe bird is shown standing in repose with wings folded in, and head slightly turned to one side. The beak is carved to almost knife-like sharpness, and diamonds are set in for the eyes, giving a most naturalistic expression. Adding to the impression one has of the great strength and ferocity of this bird, are the highly polished and sharp claws which are rendered with the highest degree of precision.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nMiniature rooster carved out of transparent carnelian, by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIn its small dimensions, every detail of the anatomy is correctly and precisely cut, even to the chasing of the individual feathers. The legs are of gold with the paws minutely chased and with sharp claws, while diamonds are set in for the eyes. \nIt is a fine example of the miniature sculptures in semi-precious stones for which Fabergé was famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2325\nUnique sculpture of a hornbill by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThis exotic bird with its exceptionally long curved beak, is shown in a seated position, with its head upraised. It is carved from flawless smoky topaz, beautiful in color.\nThe rendition of the bird is executed with broad, sweeping lines, yet with great attention and fidelity to detail. Diamonds mounted in yellow gold are set in for the eyes. It is in every respect an example typical of the fine animal sculptures by Fabergé.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\u003c/p\u003e\n","\u003cp\u003e#2340\nA magnificent specimen of the animal sculpture of CARL G. FABERGE, the celebrated Russian Court jeweler, is this large owl carved out of a single piece of obsidian.\nThis rare and excessively brittle stone is here used to the greatest advantage. It is so carved and polished as to bring out all the hidden lights.\nThe model for the sculpture was apparently an old bird, who sits looking at us sideways in a most quizzical fashion. His large eyes are set with tiger eyes, mounted in each corner with tiny diamonds, all set in gold. The roving quality of the tiger eyes is in admirable harmony with the nature of the obsidian, which changes and gives such an unusual silvery-gray sheen when light strikes it at various angles.\nThe fine carving and imbricated plumage are most typical of the genius of Fabergé. The wings are an interesting feature, being irregular in their foldings (sic), in conformity with the position of the bird, slightly turned.\nIn the original Fabergé hollywood case.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2353\nVery unusual gold pendant in the form of a lozenge, by BOLIN, the well-known Russian jeweler, who made many outstanding objects for members of the Russian Imperial family, as well as for other important personages.\nIn the center is a large diamond surrounded by four smaller ones. At the top is set a star cabochon-cut ruby of unusual color, while on the other three points are large cabochon-cut star sapphires.\nBordering the piece on both sides, are finely chased gold ropes.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2373\nRare Russian silver tray of the early nineteenth century, made in St. Petersburg circa 1815 during the reign of Czar Alexander I (1801-1825).\nIt is a plain rectangular tray standing on four ball feet, and bordered with a pierced and beaded gallery, and baring two gracefully shaped handles, also beaded.\nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2376\nGold link bracelet by CARL G. FABERGE, the celebrated Russian Court jeweler. \nThe center bears a shield-shaped plaque which is translucently enameled over a chased (guilloché) surface in a rich red, and against this background is mounted the Russian Imperial double-headed Eagle, beautifully chased. The breast bears a diamond and the crown surmounting it is likewise set with a diamond.\nOf exquisite refinement and delicacy it is a piece typical of the work of this great artist.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2419\nRectangular gold gilt silver frame by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe opening for the picture is large and square and the border rather narrow, which gives a most unusual effect.\nThe border, is enameled over a chased \"guilloché\" surface in a rich translucent red, over which is appliqued formal scrollwork in gold gilt silver. Pilasters enameled in fine shades of green and white complete the decoration, and blend beautifully with the entire composition. The back is paneled with hollywood.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN. L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2421\nExceptionally fine rectangular gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in an extremely pale blue.\nBoth the inner rectangular border for the picture and the outer border are perfectly plain. Surmounting the frame is a gold riband from which are suspended pendant festoons of berried laurel, and in each corner are rosettes inset with tiny diamonds.\nThe back is paneled with ivory and bears a fancifully designed easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2445\nAn exceptional piece by the celebrated Russian Court jeweler, CARL G. FABERGE, is this large ash tray fashioned of gold.\nThe shape is most graceful and unusual, being of trefoil design. From each of the three points thus formed, a gold handle extends, each handle being set with a gold coin of Catherine the Great, and dated 1766, 1773, and 1783. Fabergé was very fond of using these old Russian coins in completing his designs and they are here used to perfection. The coins are of green gold and are a fine contrast to the interior of the tray, which is a highly polished red gold.\nThe exterior is a surprise feature, as it is finely fluted, with typical Fabergé precision and painstaking craftsmanship.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2453\nA large goose carved out of a piece of rock crystal by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe goose is shown in a standing position with the long neck gracefully lifted, and the head turned slightly to one side. Tiny gold-mounted diamonds are set in for the eyes.\nThe imbricated plumage is finely rendered, and so life-like is the creation, that one feels that at any moment the goose will begin to waddle along. Fabergé was a great genius in the field of animal sculpture, and has here captured the charm of this bird, and given life to this finely carved stone.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2454\nAmethystine owl by CARL G. FABERGE, the celebrated Russian Court jeweler. Carved out of a single piece of this stone, which was especially chosen for its unusual color and shading, the owl is finely chased in great detail. Tiny gold-mounted olivenes (sic) are set in for the eyes, and such a choice was a happy inspiration, as they add greatly to the character of the bird.\nHe is shown with his meticulously chased gold feet perched on an ivory stand which has sapphire tips. The whole rests on a base which is composed of a single slap (sic) of lapis lazuli.\nA typical Fabergé nicety is added near the base: - two tiny enameled bands, one in white matte enamel, and the other in a lovely shade of translucent pink enamel, complete the color harmony, and are a charming surprise.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2455. Miniature gold Easter egg, with four sections finely enameled a deep blue, and set in each corner with a gold star and in the center with a cabochon ruby. In between these sections, the gold surfaces are beautifully fluted.\n#2456. Tiny Easter rabbit mounted in an egg-shaped gold ring. The bunny is beautifully carved out of a single piece of amethyst. Around his neck is a gold collar from which is suspended a gold-mounted olivene (sic), while olivenes (sic) are also set in for the eyes.\nBoth of these are by the famous Russian Court jeweler, CARL G. FABERGE, and are from the belongings of Czarina Alexandra Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2457. Miniature Easter egg of rock crystal, finely etched with four four-leaf clovers, in the center of each of which is a ruby or an emerald.\n#2461. Miniature gold Easter egg enameled over a chased (guilloché) surface in a rich red, with a gold band running around its side.\n#2467. Miniature gold Easter egg enameled over a chased (guilloché) surface in a pale apple green. Superimposed are two white matte enameled lilies with leaves.\n#2474. Miniature gold Easter egg, very simple in design. Its sole decoration consists of a calyx outlined at the top in deep ultramarine blue enamel.\nThey are by CARL G. FABERGE, the well-known Russian Court jeweler, and are from the belongings of the Grand Duchess Tatiana Nicholaiovna, the second daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2460. Miniature gold Easter egg, beautifully decorated with alternating panels of red and white translucent enamel. The white portions are further embellished with overlaid tiny blue flowers and green leaves.\n#2465. Miniature gold Easter egg fashioned as a gold egg-shaped ring enameled over a chased surface in a shimmering white. From its center is suspended a gold-mounted ruby.\n#2470. Miniature gold Easter egg fashioned as a gold egg-shaped ring, in which stands a gold-mounted egg-shaped aquamarine.\n#2472. Miniature Easter egg carved out of a single piece of the rare Russian semi-precious stone, orletz. Wound about the egg is a gold serpent, exquisitely chased, its head set with an emerald.\nThese are by CARL G. FABERGE, the celebrated Russian Court jeweler, and are from the belongings of the Grand Duchess Olga Nicholaiovna, the eldest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2464. Miniature Easter egg carved out of a single piece of dark green jade, mounted in a gold wreath which divides the egg into three portions. Two points of the wreath are set with rubies.\n#2468. Miniature gold Easter egg finely enameled over a chased (guilloché) surface in a rich red. One side is set with a . (sic) pearl, while the other bears abbreviations in gold letters, which stand for the traditional Easter greeting \"Christ is Risen\".\nThese are by the celebrated Russian Court jeweler CARL G. FABERGE, and are from the belongings of the Grand Duchess Anastasia Nicholaiovna, the youngest daughter of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2496\nTiny vase with two small handles, beautifully carved out of rock crystal. The entire surface is cut with a basketwork design, while the top is mounted with a gold rim which is set with alternating diamonds and rubies.\nIt is by the celebrated Russian Court jeweler CARL G. FABERGE, who is today often referred to as the \"Cellini of the nineteenth century\".\nFrom the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2497\nSmall gold cup by CARL G. FABERGE, the celebrated Russian Court jeweler. It is tapering in shape, and stands on a very short round base. On one side is a curiously formed openwork handle.\nThe most engaging feature is the decoration around the side of the cup. The lower portion is so chased as to look like water, in which are swimming two fishes, the tails and heads of which are blue sapphires. So cleverly chased are the sapphires and the gold, that the bodies of the fishes seem to be submerged in the water. The artifice is so well executed, that one actually thinks the fishes are playfully swimming in the water.\nIt is a piece typical of the fantaisies (sic) which Fabergé delighted in creating for members of the Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2498\nExquisite brooch by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is designed as a horizontal figure eight, with a large cabochon emerald of lovely color set in each side. Each is surrounded by diamonds mounted in openwork gold setting.\nIt is a piece typical of the craftsmanship of this great artist, and of his fine, discriminating taste.\nFrom the personal belongings of Czarina Alexandria Feodorovna, wife of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2512\nUnusual set of six large silver spoons, very simple both in design and in ornamentation.\nThe bowl of each is sharply pointed, while the handle is of shield shape, and on which is chased a shield surmounted by crown, and which bears the date \"1770\" as well as the words: \"Concordia et Laetitia\". The center of the shield shows two hands clasped in a handshake. The reverse is dated 1850 and bears the initials \"A.C.\".\nThe set was made in 1850 in St. Petersburg by the well-known firm \"Nichols and Plinke\", who made many outstanding objects for members of the Imperial family.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2524\nGold ring mounted with an exceptional emerald of over five carats and of remarkable brilliance and color.\nThe mounting was designed with the greatest simplicity in order to fully bring out the beauty of the stone.\nOriginally in the personal belongings of Nicholas II, the late Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2525\nA most exceptional star ruby of thirty carats, unusual for its size, shape and color of great intensity and richness.\nIt is mounted into an exquisite yellow gold ring, which consists of a broad band pierced throughout its entire surface, and chased with foliations and flowers which show exceedingly fine craftsmanship. The mounting for the stone is in the form of a collar of laurel leaves.\nThe general composition of the ring, with its fine material and excellent workmanship, combined with its exquisite lightness and grace, mark it as an important example of the jeweler's art.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2568\nExquisite miniature gold frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the fine quality and discriminating taste associated with the work of this master craftsman.\nIts surface is chased (guilloché) in a sunburst pattern enameled pale green [underlined]. The inner border, enclosing photograph, is set with pearls, while the outer border is beautifully chased with an oak leaf motif of green gold, crossed at intervals with bands of red gold. The back is of ivory and bears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2651\nFine Russian lapis lazuli and gold snuff box.\nIt is of cartouche form and is carved out of superb blue Russian lapis with the hinge and rims mounted in gold.\nThe cover bears in the center the gold and diamond studded monogram and crown of Empress Maria Feodorovna, mother of Nicholas II, the late Czar of Russia, and wife of Czar Alexander III.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2657\nSmall eighteen carat gold Easter egg by CARL G. FABERGE, the celebrated Russian court jeweler.\nIt opens through the center on a hinge and its entire surface is divided into four horizontal panels, each richly chased in typical FABERGE craftsmanship with interweaving foliations which stand out in bold relief against the finely stippled background. The top is set with a faceted ruby and upon opening the egg, one finds within, embedded in a lovely antique fabric, a small diamond and ruby ring. The central diamond is a golden color and this is surrounded by a circlet of six faceted rubies.\nIt is an exquisite example of the discriminating taste and precise craftsmanship of this great artist. This piece, for quality and for beauty, is in a class with the Russian Imperial Master eggs which are today so justly famous.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2675\nCircular ash tray by CARL G. FABERGE, the celebrated Russian Court jeweler. \nIt was executed during the World War from material captured at the front and melted.\nIt is of copper and bears in the center a large Russian Imperial double-headed Eagle. At the top are the words \"War 1914\", and at the bottom is the signature \"K. FABERGE\" in large letters.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2680\nExceptionally fine miniature gold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased (guilloché) surface in a scintillating white.\nIt is a small oval frame and the inner oval opening for the picture is bordered with pearls while the outer border is finely chased in typical FABERGE fashion with oak leaves in two shades of gold and set at intervals with lovely rubies in square gold mountings. At the top is a highly polished ribbon box attachment.\nThe back is paneled with ivory and bears a beautifully fashioned gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2691\nPaper knife with gold and topaz handle by CARL G. FABERGE, the celebrated Russian Court jeweler.\nThe stone is of a rich golden color and is so shaped that it may be easily grasped. Around its collar is a gold band chased in typical FABERGE classical style.\nIt is a good example of the fine craftsmanship and excellent taste of this great artist, who is today often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2692\nMiniature owl by CARL G. FABERGE, the celebrated Russian Court jeweler, carved out of a single piece of opal especially chosen for its fine color and shading.\nThe bird, which is of exceptionally small proportions, is shown standing on a gold perch which rests on an agate base. In its small dimensions, the details of the anatomy are correctly and precisely rendered. Two rubies are set in for the eyes.\nA charming example of the work of this great artist, who made so many important objets d'art for members of the Russian Imperial family, as well as for other important personages throughout the world.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2722\nCharming \"fantaisie\" by CARL G. FABERGE, the celebrated Russian Court jeweler, a tourmaline parrot of soft rose-color shading into a pale green tail and with emerald eyes, diamond collar and gold feet, perches on a swinging ivory bar which carries silver gilt pails on either end, filled with seed.\nIngeniously contrived, the swing is suspended from a silver gilt stand mounted on a round tray in typical Fabergé classical inspiration.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2786\nGold kovsh by CARL G. FABERGE, the celebrated Russian court jeweler, designed in the ancient Byzantine manner.\nThe round full bowl is decorated with eight spade-shaped panels bearing alternating leaf patterns with four Russian Imperial double-headed Eagles, all in bold relief. The eagles are chased with amazingly fine precision, and show the ball and scepter of sovereignty, the three crowns, St. George Slaying the Dragon, and the tiny shields, all in wonderful clarity and detail.\nThe kovsh stands on a short outflaring [sic] fluted foot, while the shoulder is absolutely plain. The most exotic feature is the handle which springs up from the base in the form of a horn, and which is surmounted by a finial consisting of a single large emerald.\nAn outstanding work of this great artist, often referred to as the \"Cellini of the nineteenth century\".\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2821\nMiniature gold and platinum charm in the form of a bull dog. \nThe collar is gold, the eyes are rubies, and the body is set with ten large diamonds and many smaller ones.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2859\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler, enameled over a chased guilloche surface in a most interesting pattern combining areas of various sizes in red, white, and blue enamel, the colors of the Imperial Standard.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2868\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler. It is enameled over a chased guilloché surface in a rich green. The top is decorated with classical fluted mounting and with chased gold garlands crossed at intervals with ribbons and from which are suspended pendant festoons. These are carried out in vari-colored gold, typical of the work of this master craftsman.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2869\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is finely enameled over a chased guilloché surface in a raspberry red. One side of the egg is decorated with an applied miniature sculpture in gold of an elephant with up-turned trunk. This is outlined by a band of white matte enamel separated from the red by narrow gold bands.\n \nMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2870\nMiniature gold Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler.\nIt is set around the center with a faceted emerald, a faceted ruby, and two faceted sapphires.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2881\nCircular silver tray by Nichols \u0026amp; Plinke, outstanding silversmiths of English origin who settled and worked in Russia at the request of the Imperial family.\nDesigned with the greatest simplicity the center bears an oval-shaped decoration suitable for monogramming, while the border is heavily chased and engraved with a classical pattern.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER NEW YORK\n#2882\nGold frame by CARL G. FABERGE, the celebrated Russian Court jeweler. In typical Fabergé design, the rectangular opening for the picture is bordered by bead and dash pattern, while the outside border is likewise designed with a classical pattern, set in each corner with a rosette. \nIn between these, the area is overlaid with a chased guilloché surface enameled a most unusual shade of greyish blue and this is overlaid with rich gold festoons and shell motifs.\nBears a fancifully designed gold easel.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#JZ-1, 2, 3, 4.\nGroup of gold animal charms, of fine quality.\nOne represents a gold bear standing on a pearl [underlined]; one is a bulldog [underlined] with diamond collar and tail; another is a dog with ruby [underlined] eyes and diamond collar [underlined]; and the fourth is a dog carved in Chinese fashion [underlined].\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#L-14\nMost unusual and rare split Easter egg by CARL G. FABERGE, the celebrated Russian Court jeweler, who is today often referred to as the \"Cellini of the nineteenth century\".\nIt is a particularly noteworthy example of his genius. Carved out of nephrite and beautifully polished, it is split lengthwise through the center, which is mounted in gold with a laurel leaf design. On front and back are oval openings for pictures bordered with gold chased with the classic dart and triple dot motif. The surprise feature however, is discovered upon opening the egg. Each portion bears on the back a beautifully fashioned gold easel, so that when the egg is open, it can easily stand upon its easels, enabling one to see both pictures at the same time.\nIt is a very beautiful piece, and in every detail is typical of the fine taste and exacting craftsmanship of this great master.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\nROCKEFELLER CENTER, NEW YORK\n#G.25\nDiamond-shaped rock crystal frame by CARL G. FABERGE, the celebrated Russian court jeweler, of the utmost delicacy and refinement.\nThe round opening for the picture is bordered with emeralds, and through the center on top and bottom runs a golden stem bearing three gold tulips, each with four tiny gold-mounted rubies. The border is finely fluted and is crossed at intervals with leaves of a contrasting shade of gold, while in each corner is set a diamond.\nThe opening for the picture is backed with ivory, while the frame is supported by a gold easel exquisite in shape.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nThe Schaffer Collection\n of \nRussian Imperial Art Treasures\u003c/p\u003e\n","\u003cp\u003eGOLD PRESENTATION BOX OF NICHOLAS II OF RUSSIA\nBY FABERGE\nThis exquisite example of the incomparable artistry of Fabergé is circular in shape. The top is enamelled [sic] in a lovely shade of rich iridescent blue over a guilloché surface. In the center is a raised oval reserve bordered by a row of pearls, a band of gold filigree and gracefully curved diamond set volutes extending to the outer rim.\nIn this reserve is found the Russian Imperial Eagle, entirely set with diamonds and surmounted by the crown set with two rubies. In the eagle's center is placed a finely chased shield showing \"St. George Slaying the Dragon\".\nUpon opening the box, the bottom of the inside is found to be enameled in the same deep blue as the top. In the center is the coat-of-arms of the Romanoff's, completely surrounded by a rayed sunburst design.\nPresented to Nicholas II by his wife Alexandra Feodorovna, upon the occasion of the three hundredth anniversary of the founding of the Romanoff dynasty, 1613-1913. \nFully signed by CARL G. FABERGE, jeweler to the Imperial Court, and bears the rare gold mark 72.\u003c/p\u003e\n","\u003cp\u003eMRS. JOHN L. PRATT\u003c/p\u003e","\u003cp\u003eThis series is comprised of invoices, price tags, item descriptions, exhibition labels and correspondence that document the purchases Pratt made from the Hammer Galleries in the 1930s and 1940s. The Lord and Taylor invoices are undated, but the item numbers match up with Hammer Galleries price tags, and the Galleries did present and sell their collection at Lord and Taylor in the early 1930s (probably 1934 based upon letterhead from the item descriptions).\u003c/p\u003e\n","\u003cp\u003ePrice tags were often annotated with price reductions or alterations in the item's description. Item descriptions are extremely detailed, and include the item number and the date purchased. Most of the item descriptions were annotated by museum staff at some point with VMFA accession numbers. A note in Pratt's hand is written on the item description for a traveling clock (item number 5253, purchased June 16, 1933) and says \"Given to H.R.H. Princess Margaret Rose of England May 1939.\" She received a letter of acknowledgment and appreciation back from Lady Constance Harriet Stuart Gaskell, a Woman of the Bedchamber to Queen Mary.\u003c/p\u003e\n","\u003cp\u003eFinally, the few exhibition labels were used in the Hammer Collection's \"Russian Imperial Exhibit\" at Lord and Taylor. Four are still mounted on the original gold colored panels.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into five subseries: Series 2.1: Lord and Taylor Invoices, [1933]; Series 2.2: Price Tags, undated; Series 2.3: Item Descriptions, 1933-1945, undated; Series 2.4: Exhibition Labels, 1933-1934, undated; Series 2.5: Correspondence, 1939.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. X 4110\nRunner made of 18th century brocade in a striped design of gold and various colors. From a portion of a Priest's robe woven and worn in Russia.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y. \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 D\nKnife of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Polish, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 25, 1933\nArticle No. F 99 C\nFork of gold on silver, exquisitely chased and hand-hammered, with Mother-of-Pearl handle. Russian, Circa 1870.\nFrom the Winter Palace Collection in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H-4098\nSilver Hand Mirror bearing the initials \"AN\" under the Imperial Crown, for Grand Duchess Anastasia, who was the youngest daughter of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003e\nMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5054\nA small modern Icon of \"St. George the Conqueror.\" Painted on metal and framed by the well-known Klebnikov of St. Petersburg. The frame is decorated in beautiful enamel work and bears the Russian hallmark \"84\" denoting the finest quality silver; also bears the stamp of the Imperial Double-headed Eagle, showing that it was made especially for a member of the Russian Royal Family.\nFrom the collection belonging to Nicholai II and his wife Alexandra, in the Winter and Alexander Palaces.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. 5358\nLarge Serving Spoon of gold on silver. On the handle appear the Imperial coat-of-arms, crown and monogram of Grand Duchess Elizabeth Mauvriekovna, wife of Grand Duke Konstantin. It was made by Hunt and Roskell of England.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4108\nPhotograph in a silver frame of Serge Alexandrovitch, who was the brother of Alexander III, and his wife, Elizaveta Feodorovna, who was the sister of Czarina Alexandra. On one side is engraved a crown and the inscription: \"Serge;\" on the other side, a crown and the inscription: \"Elizaveta.\" At the bottom, the dates \"1891-1904;\" at the top, a small crown and an enamel plaque of St. George Slaying the Dragon. Made by Faberge, the famous jeweler of the last Court of the Romanoffs.\u003c/p\u003e\n","\u003cp\u003eFrom the Collection in the Winter Palace, St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg, Virginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 26, 1933\nArticle No. H 4809\nFruit Spoon of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of this spoon is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg \nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. X 6101\nSquare of red velvet richly embroidered with gold stars of passementerie, also a design worked in beads and various colored stones. Finished with gold Gothic galoon. Part of a chasuble. Russian, Circa 1880.\nFrom a collection used in the chapels of the Russian Imperial Palaces in St. Petersburg, consisting of hand-loomed brocades, damasks, handcut (sic) velvets, and altar sets. The metal brocades are woven with genuine gold and silver threads.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4830\nIcon, \"The Twelve Apostles.\" Seventeenth century, Northern School. Gold on bronze mounting. \nFrom the collection in the Winter Palace, St. Petersburg, of Nicholai II, the last Czar of Russia\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nJanuary 27, 1933\nArticle No. 4809\u003c/p\u003e\n","\u003cp\u003eSet of twelve Fruit Spoons of gold on silver, beautifully designed, with an urn and shield engraved with the Imperial Crown. On the reverse side are the various silver marks, - \"84\" denoting sterling quality in Russia, - the initials \"MF\" for the maker, the date 1850, and the Imperial Russian Double-headed Eagle.\nAn interesting feature of these spoons is the manner in which the crown is engraved, being cut through the gold surface to show the silver beneath.\nFrom the Anitchkov Palace in St. Petersburg, Russia.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 1, 1933\nArticle No. 10685-B\nCup of gold on silver, with handsomely chased \"neilo\" (black enamel effect) decorations. Made in Russia and dated 1834.\nFrom the collection in the Winter Palace, St. Petersburg, Russia, of Nicholai I.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 2, 1933\nArticle No. 5253\nThin gold watch made by Leroy, Paris, for the Czarina Alexandra, whose monogram and crown in red enamel are delicately inlaid on the back. This simple but graceful time-piece was one of the last acquisitions of the Czarina. From her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 14, 1933\nArticle No. 5259\nGold on silver enameled Caviar Spoon. Russian, hallmarked \"88\" denoting the highest quality of Russian silver. Also bears the initials \"I.M.\" of the maker.\nFrom the collection in the Alexander Palace of the Czarina Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. D 1000\nSilver and enamel Tryptich, set with semi-precious stones. In the center is shown the head of Christ; on the left is Saint Nicholas; on the right, the Guardian Angel.\nFrom the collection of Alexandra Feodorovna, who was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT\nFebruary 17, 1933\nArticle No. 4580\nIcon of the early seventeenth century, Ulanov School, \"Dormition of the Virgin.\"\nBelow, among the prophets, disciples and saints, lies the Virgin while her Soul is represented as an infant in the arms of her Son, who will transport it to Paradise. On either side of Christ are Archangels; above Him, under the arch, are the Cherubim and Seraphim. At the top of the icon appears God the Father with the Holy Ghost. Immediately beneath is the Sabor of Angels awaiting Our Lady, who ascends from Earth. In the heavens, among other saints, are seen Thomas, John the Divine, Peter, Alexander, Paul, Philip and Savva. Below, in front of the bier, is Athonius, a Jew, who dared to place his hands on the bier to upset it. An Angel cut off the hands, but on Athonius saying an \"Ave,\" Peter healed him.\nFrom the collection of the Czarina Alexandra in the Winter Palace, St. Petersburg.\nMrs. John L. Pratt\nChatham\nFredericksburg\nVirginia\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nGiven to R.P. H. Princess Margaret Rose of England May 1939 [handwritten]\nJune 16th, 1933.\nArticle No. 5253\nEnglish silver Traveling Clock in wooden case. Made for Queen Victoria by Dimmick, Maker to Her Majesty the Queen, Cowes, England.\nInscribed on the face: \"From Grandmama 1894\". Given by Queen Victoria to her grandchild, the Czarina Alexandra Feodorovna.\nFrom the Alexander Palace, Tsarskoye-Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nHotel McAlpin\nNew York, New York\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 3550\nWooden Wine Ladle. Beautifully inlayed with metal. Part of the Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\n3623. Handkerchief.\nFine linen handkerchief embroidered with the crown and monogram of the Dowager Empress Maria Feodorovna, Mother of Nicholai II. The border is block printed with a series of brown and blue elephants. It is significant to the superstitious that the trunks of the elephant are turned down where is (sic) those of the lucky elephants are turned up. From the private quarters of the Dowager Empress in the Anitchkov Palace in St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2, 1933\nF43. Paper Knife.\nGold on silver blade. Mounted in mother of pearl handle. Bears crown and monogram of Grand Duke Constantin Nicholaevitch.\nRussian [handwritten]\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6154\nMat. Made of green and silver brocade outlined in rose, conventional floral design.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces, consisting of hand-loomed brocades, damasks, handcut [sic] velvets and altar sets. The metal threads are of genuine silver.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. 4404\nPhotograph of Olga, eldest daughter of Czar Nicholai II, Maria, the third daughter, their governess, and Titiani, the second daughter. Frame by Faberge; the blue ribbon crosses represents the order of St. Andrew, created in 1698 by Peter the Great. Only members of the Imperial Family could belong to this order. Winter Palace Collection.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5153\nSmall Runner. Made of damask woven with yellow flowers in serpentine design with gold. Trimmed with old gold lace. Russian Circa 18th Century.\nThis damask is from a collection used in the chapels of the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X5096\nSquare Mat. Made of gold brocade outlined in tan trimmed with galoon. Russian Circa 1850. \nThis brocade is from a collection used in the Russian Imperial Palaces consisting of handloomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 2nd, 1933\nArticle No. X6396\nTwo Circular Mats. Made of white and gold brocade in conventional design. Trimmed with lace galoon. Russian Circa 1870.\nThis brocade is from a collection used in the chapels of the Russian Imperial Palaces consisting of hand-loomed brocades, damasks, hand-cut velvets and altar sets. The metal threads are of genuine gold.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. 6025. Photograph of Nicholai II and his wife Alexandra as they were dressed for the Imperial Costume Ball held in the Winter Palace in 1903. The entire court at this ball were dress in Russian costumes of the seventeenth century. The Tzar and the Tzarina are here represented as Michael, First Tzar of Russia and his wife Evdokia, The photograph was made by Levitski, court photographer in St. Petersburg. On the back is a seal which reads: The artistic accurateness confirmed by the Imperial Academy of Art.\" This photograph was obtained from the elderly governess of the Grand Duchess who is still living incognito in Moscow.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nOctober 31st, 1933\nArticle No. E-1000. Silver and enamel Easter Egg bearing red crosses on white iridescent enamel and an inscription which reads: Greater love hath no man than he who sacrifices his life for a friend [underlined]. At the top are the initials and monogram of dowager Empress Marie, mother of Nicholai II. Inside is a folding screen of miniatures painted on mother-of-pearl and framed in gold and enamel. The miniatures read from left to right with their respective monograms mounted in gold on the back as follows: Grand Duchess Olga Alexandrovna, sister of Nicholai II, Grand Duchess Olga Nicholaevna, daughter of Nicholai II, Czarina Alexandra Feodorovna, wife of Nicholai II, Grand Duchess Titiana, daughter of Nicholai II, and Grand Duchess Marie Pavlovna, author of the \"Education of a Princess\", and cousin of Nicholai II. This egg was made by Fabergé, the court jeweler for Nicholai II as an Easter gift, in 1915, for his mother, the dowager Empress. From the Anitchkov Palace in St. Petersburg, where it was under Inventory No. 17,550.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933\nArticle No. 6787\nMat. Made of gold brocade showing an Imperial Crown and double-headed eagle on a blue background. Made in 1913 to commemorate the three hundredth anniversary of the Romanoff regime. Bound and lined with old gold galoon.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6707\nRunner. Of vari-colored silk floral design of pussy willows. Probably used at Easter time. Circa 1780.\nFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nDecember 4th, 1933.\nArticle No. X 6794\nRunner. Of gold brocade with vari-colored silk floral design trimmed with old lace galoon. Circa 1800.\u003c/p\u003e\n","\u003cp\u003eFrom a collection of brocades which were formerly used in the Imperial Chapels of the Romanoffs as altar covers and priests' robes. They were brought from the various Palaces about St. Petersburg to the Winter Palace. Here soldiers of the present government sorted them for burning so that the precious gold and silver used in weaving many of them could be reclaimed. Fortunately, Dr. Armand Hammer heard of the plan and succeeded in saving a large number of the vestments by purchasing them. These glorious fabrics, brilliant with metals that will never tarnish, combine the skill and artistry of the West with the originality and color of the Far East.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4763\nA silver plaque depicting the Church of Christ the Saviour, which was given to the Dowager Empress Marie Feodorovna on the occasion of the erection of this church. It was to commemorate the miraculous escape of the Royal Family from death in a railroad wreck. The church was erected by the contributions of various workers in the government departments and private citizens of Russia in the year 1888.\nThe plaque is from the Anitchov Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 5528\u003c/p\u003e\n","\u003cp\u003eAn icon finely painted on wood and mounted with a silver trapping set with seed pearls in a Byzantine design on a background of green enamel. The subject of the icon is \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The commandment of the new day: Love Thy Neighbor as Thyself.\"\n \nThe icon is backed with red velvet. It was made by the court jeweler, Faberge, whose full name is marked under the Imperial double eagle. It also bears the figure \"88\" which denotes the highest quality of Russian silver. The icon is from the quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 6136\nAn unusual tea pot of exquisite silver bearing the crown and monogram of Alexander III. It is made with double spouts and a gut handle.\nThis tea pot was made in 1891 by the Royal jewelers, Michelson of Copenhagen, belonging to the Danish Court.\nIt was found in the Gatchina Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nJanuary 4th, 1934.\nArticle No. 4765\nA slender gold column of exquisite workmanship, with a miniature of Nicholai II on it set with diamonds and crystals. The column is delicately chased with Icanthus leaves in green gold, a touch characteristic of Faberge who made the bibelot for the Czarina to present to Nicholai II on his birthday in 1907. It is contained in the original case and was found in the Alexander Palace.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6111\u003c/p\u003e\n","\u003cp\u003eA jewel chest made of hand-hammered silver, and lined with mulberry velvet. On the cover is the Russian Imperial Double-headed eagle adorned with the various emblems of the Romanoff family. The sides of the cover bear the repeated initial \"M\", inlaid with blue enamel, which stands for the Dowager Empress Marie, mother of Nicholai II. The key is set with a semi-precious green stone. The box is undoubtedly of Danish origin.\u003c/p\u003e\n","\u003cp\u003eIt is from the quarters of the Dowager Empress Marie, in the Anitchov Palace, St. Petersburg.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6019\u003c/p\u003e\n","\u003cp\u003eA jewel box made of silver. The cover is adorned with vari-colored Russian enamel, pearls and rose diamonds. It was made by the court silver-smith, Bolin, whose full name it bears. It is also marked with the initials of his assistant master and the figures \"88\", which denote the highest quality of Russian silver.\u003c/p\u003e\n","\u003cp\u003eThe box is from the personal quarters of the Czarina Alexandra, wife of Nicholai II, and was found in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nFebruary 1st, 1934.\nArticle No. 6148\u003c/p\u003e\n","\u003cp\u003eA brooch of silver modeled in a ribbon design and set with many turquoise and genuine half pearls.\u003c/p\u003e\n","\u003cp\u003eIt was found in the quarters of the Czarina Alexandra in the Alexander Palace at Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5421\nAn icon of \"St. Nicholas the Wonder Worker\", patron saint of Russia, with Christ and the Madonna. This icon was presented to Nicholai II when he was still a Czarevitch, by a peasant icon painter whose name appears on the border of the icon. The inscription on the back reads: \"From a peasant of the village of Materi, Province of Vladimir---Joseph Andrew Pankreshoff. Presented to His Imperial Highness, Czarevitch and Grand Duke Nicholai Alexandrovitch.\" Taken from the historic apartment of the Anitchkov Palace, with the inventory number #6794\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italian Primitive with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMarch 26th, 1934.\nArticle No. 5538\nAn icon painted on wood on a background of gold with a border of rich enamel in Byzantine design. It has a brass trapping and is enclosed in original wood and velvet-lined case. \"St. Nicholas the Wonder Worker\". A painting of exquisite detail and coloring. It was presented to Nicholai II when he was still the Tsarevitch. The sticker on the back of the box reads: \"To the Grand Duke Nicholai Alexandrovitch, 19th of July, 1882.\" It has the city museum inventory number, Anitchkov Palace, 6819. From the quarters of Nicholai II in the Anitchkov Palace before he became the Tsar of Russia.\nThe fascinating history of icons dates back to the time of the pyramids in Egypt, but the oldest examples today are to be found in the Russian churches. The primary influence was that of the Byzantine which accounts for their resemblance to the Italina (sic) Primitive, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks who painted them after long and fervent prayer.\u003c/p\u003e\n","\u003cp\u003eFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nMay 3rd, 1934.\nArticle No. 4122 C\u003c/p\u003e\n","\u003cp\u003eA porcelain Easter egg bearing the monogram of the Czarevirch [sic] Alexis. It is drawn through with the original ribbon and was made in the Russian Imperial Porcelain Factory.\u003c/p\u003e\n","\u003cp\u003eThe Russian Imperial Porcelain Factory was owned and operated exclusively by the the [sic] Royal Family from the time of its beginning in 1744 (when it was founded by Elizabeth I, daughter of Peter the Great) down to the time of the last of the Romanoffs, Nicholai II (1917).\u003c/p\u003e\n","\u003cp\u003e\nFrom the Hammer Collection – Three East Fifty-second Street, New York, N. Y.\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \u003c/p\u003e\n","\u003cp\u003eArticle No. E-313\nSupple Bracelet of woven gold. The alternate links are fashioned of green and of red gold, which the Russians were so fond of. It was made by the famous court jeweler Faberge, and although the bracelet is not marked with his initials, its style and workmanship mark it as unmistakably his. The catch is marked with the number \"56\" for the finest grade of Russian gold.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL EXHIBIT \nArticle No. A-104\nOval Frame delicately wrought in filigree effect set with sixteen alternating sapphires and rubies. Contains an original snap-shot of the Czarevitch Alexis in a sailor suit, sitting astride an old cannon in the gardens of Peterhof, which was the Imperial summer residence in 1910. The frame is marked with figure \"88\"denoting a higher quality of Russian silver than our \"Sterling.\"\nFrom the personal quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo. She was the wife of Nicholai II, the last Czar of Russia.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 31, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5547\nDainty spray of corn flowers, fashioned of gold, enamel and diamonds, supported in a small vase of rock crystal. The workmanship on the foliage and buds shows the most exclusive care in fashioning truly after nature. The enamel of deep blue is extremely clear. The stamen and pistils are each set with a small shiny diamond. The workmanship of the flower itself is by Faberge, the famous court jeweler, while the crystal vase was ground after his design in the Imperial Grinding Factory at Ekaterinburg.\nAmong the most delightful creations made by Faberge for Czar Nicholai II, was a collection of flowers and berries, made of gold, jade and precious stones. Many of the blossoms and berries were enameled in life like-colors. The small vases of rock crystal seem to be filled with water.\nThese delicate pieces brought great joy and pleasure to the Czar and it was a happy occasion when he presented them to some of the members of the Imperial Family.\nMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5401\nElectric contact bell of artisticaly [sic] hand wrought silver in the form of a rabbit. The eyes, which make the contact, are set with garnets.\nIt was made and signed by the court jeweler Faberge, outstanding craftsman of the last fifty years. His name appears under the double-headed eagle of Royal appointment. The figures \"88\" denote the highest quality of Russian silver.\nFrom the property of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5687\nEaster Egg of Orletz or Eagle stone, decorated with gold and silver mountings, and bearing an inlaid monogram and crown of Maria Feodorovna, Dowager Empress and mother of the last czar, Nicholai II. The egg is shaped of this rare Ural stone, named after the Russian Eagle in the Imperial Grinding Factory in Ekaterinburg. Made by the famous court jeweler Faberge.\nFrom the quarters of the Grand Duchess Tatiana in the Alexander Palace, Tsarskoye Selo, to whom this gift was presented by Maria Feodorovna, her grandmother. Grand Duchess Tatiana was the second daughter of Nicholai II.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A-62\u003c/p\u003e\n","\u003cp\u003eRare Insignia of the Imperial Order of St. Andrew in the form of a pendant. The pendant is of gold, wrought with the double-headed eagle on either side in relief. Over the eagle on one side appeas [sic] the figure of St. Andrew as he was crucified on the cross. It was made in the time of Peter I, circa 1720, and is exquisitely enemaled [sic] in natural colors. The entire medallion is framed in nineteen large diamonds of contemporary cutting, the ring has six smaller diamonds.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Grand Duchess Tatiana, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJune 21st, 1935.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5570\nSnuff box of gold, period and style of Alexander II. Russian, circa 1860.\nThe design, exquisitely chased, is of oak leaves and acorns, inlaid with transparent enamel in dark blue. It is marked \"56\" the Russian equivalent of 14 Karat gold, the profile of the Government Assay Office and the impressed number \"2073.\" Very lightly cut is the original order number of the maker \"P154.\" [4 crossed out and 0 handwritten].\nFrom the Imperial snuff box collection of His Imperial Majesty the Czar in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMarch 6th, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nEaster Egg\nEach Easter, the Dowager Empress, Marie Feodorovna, would order the Russian Imperial Porcelain Factory to execute porcelain eggs which she personally distributed. This one, bearing the original ribbon, has her monogram \"MF\" and crown in green.\nThe Russian Imperial Porcelain Factory was owned and operated exclusively by the Royal Family from the time of its founding in 1744 by Elizabeth I, daughter of Peter the Great, down to the last Czar, Nicholai II in 1917. With few exceptions, all the china used at court was made in this factory. Many of the monarchs ordered gifts created here for foreign dignitaries and court favorites. Elizabeth I used a small double eagle as her mark, while Catherine the Great used her monogram without the crown. Otherwise, most pieces were marked with the crown and monogram of the ruler in whose reign the object was made, except Alexander I, whose china rarely bore a mark.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nEaster, 1936.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. AS-1312\nExquisite parasol handle in baton design. It is of solid gold and decorated with conventional shell designs on a smooth ground. Each shell is set with a diamond, ruby, emerald or sapphire. On one side is applied a cut out double-headed eagle of Russia, adorned with the crests of all the Sovereign states, including that of Moscow in the center, showing \"St. George Slaying the Dragon.\" The handle is finished with an exceptional ball of choice flawless Siberian lapis lazuli of magnificient [sic] blue quality, set in a cup of scroll design, also set with precious stones. In all, there are eight diamonds, four rubies, four emeralds and five sapphires.\nFrom the quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. E-327\nRound powder box and cover of fine Ural [underlined] spinach jade [handwritten question mark]. The cover is rimmed in gold, chased in braided design, and has an artistically carved ivory elephant standing upon a fringed drum of gold, banded with alternating rubies and diamonds. The gold work is in the individual style of the celebrated court jeweler to Nicholai II, Karl Faberge, the creator of this lovely object.\nThe rim of the cover is marked with the full name of Faberge, the initials of his foremost workmaster [sic], Mikhail Perchin, the number \"56\", denoting Russian equivalent of 14Kt. gold, and the crossed anchors mark of the St. Petersburg Assay office.\nFrom the personal quarters of the Czarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay, 1936.\n \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle E-451\nThe \"Queen's Birthday Book\". A volume published in London by Griffith, Farran, Okeden and Welsh in 1887, and dedicated to Victoria, Queen and Empress of Great Britain, Ireland and India, on the occasion of her Golden Jubilee. The book contains thirteen portraits of members of the Royal Families and fifty-five Royal autographs, among which are those of Queen Victoria, May 24th; her Prince Consort, Albert Edward, November 9th; Edward VII, January 8th; his wife Alexandra, December 1st; (sister of the Czarina Maria Feodorovna) and George V, June 3rd. Perhaps the most interesting autograph is that of the Czarina Alexandra Feodorovna of Russia while she was the Princess Alix of Hesse and but fifteen years old (June 6th).\nThe book contains the ex-libris of Countess Vorontsov Dashkov, who was Mistress of Robes, the highest position in the Court, and the close companion of the Czarina Maria Feodorovna, mother of Nicholai II. The fly-leaf bears the inscription of presentation: \"For dearest Etta, in remembrance of the Queen's Jubilee, 1887, from your affectionate Mary Adeliade [sic], June 1887\". Mary Adelaide was Her Highness, the Duchess of Teck. \u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nAugust 17, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/3\nHandsome frame of transparent green enamel with two oval apertures containing a photograph of Czarina Alexandra and one of the Czar, Nicholai II. Above the ovals is the double-headed eagle with wings outstretched. The crown between the heads is set with rubies and diamonds while a shield, set with the same stones, is on its breast. Underneath the photographs are three swags with rosettes and crescents in garland effect. At the top of the frame two griffins, facing each other with their paws resting on an urn, form a delightful balance to the whole. It is backed with an ivory panel, the handle and ring being of gold scroll.\nIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported from Russia into France, it also bears the assay office device of that country.\nFrom the quarters of the Czarina Alexandra Feodorovna in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle GT-1530/2\u003c/p\u003e\n","\u003cp\u003eGold on silver rectangular frame of rose enamel over a field of engine turning. Mounted over the oval aperture which contains the photograph of Czarina Alexandra Feodorovna, is a double-headed eagle bearing the Imperial crown, set with diamonds, between the heads. On its breast is a single sapphire. Below, a swag and crescent design forms the decoration. Encircling the whole is a conventional laurel leaf design attached with a ribbon bow-knot, the ends falling in graceful wavy effect. It is backed with an ivory panel, the handle and the ring being of gold scroll.\u003c/p\u003e\n","\u003cp\u003eIt was made by the court silversmith to Nicholai II, K. Hann, and is hallmarked with his full name beneath the double-headed eagle of Royal appointment; the number \"88\" denoting the Russian quality of silver; and the wreathed head of the government assay office. Since it was originally imported into France from Russia, it also bears the assay office device of that country.\u003c/p\u003e\n","\u003cp\u003eFrom the quarters of the Czarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-762/80\nCharm in the shape of an Easter Egg made of solid gold and superbly decorated with transparent enamel in tones of pearl, turquoise, and ruby. The colors are separated by gold swags which cross and are capped by four pigeon blood rubies.\nIt was created by the celebrated Karl Faberge, court jeweler to Nicholai II, and is hall-marked with the initials of his workmaster [sic], and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 9th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle -4776\nJade and gold frame on a stand. The photograph, in a heart-shaped pendant, is of Grand Duke Boris Vladimirovitch.\nIt was made by the famous court jeweler to Nicholai II, Karl Faberge.\nFrom the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\n \u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle E-43\nExceptional photograph of the Czarina Alexandra in court dress, showing her great beauty. It is appropriately framed in finely chased gold on silver with a background of red iridescent enamel.\nThe frame was made by the famous court jeweler to Nicholai II, Karl Faberge, outstanding craftsman of the last fifty years. It is marked with the initials of his master and the figures \"88\" which denote the highest quality of Russian silver.\nFrom the personal quarters of Nicholai II in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nNovember 12th, 1936\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP-1553/2\nPhotograph album containing many rare and valuable photos of the Imperial Family. It is bound in navy blue morocco (whole binding), with shield, clasp and line impress of silver. The doublures are of white moire paper, and the edges are silver. It was bound by F. Knoop, St. Petersburg. The book bears the bookplate of Nicholai II, and was found in his private study, in the Alexander Palace, Tsarskoye Selo. First inventory given is on doublure number \"26933\". Later it was inventoried on the third page as \"12415\".\nThe list of photographs is as follows:\n47.20.376.1 – Emperor Alexander II\n2 – Emperor Alexander II\n3 – Empress Marie Alexandrovna\n4 – Emperor Alexander II\n5 – Emperor Alexander II\n6 – Empress Marie Alexandrovna, wife of Alexander II.\n7 – Emperor Alexander II\n8 – Alexander III and Marie Feodorovna\n9 – Empress Marie Feodorovna and Nicholai II\n10 – Emperor Alexander III\n11 – Grand Duchess Xenia, sister of Nicholai II\n12 – Three generations of German Rulers. The infant is the present ex-crown prince\n13 – Empress Marie Feodorovna and Nicholai II\n14 – Nicholai II (Grand Duke Nicholai Alexandrovitch)\n15 – Grand Duke George Alexandrovitch (brother of N. II)\n16 – Grand Duke Vladimir Alexandrovitch\n17 – Grand Duchess Marie Pavlovna, his wife\n18 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir and her children\n19 – Grand Duke Vladimir and his sons, Kyril and Boris\n20 – Grand Duke Vladimir Alexandrovitch\n21 – Grand Duchess Marie Pavlovna, his wife\n22 – Grand Dukes Kyril and Boris Vladimirovitch\n23 – Grand Duke Kyril Vladimirovitch\n    \nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e\n","\u003cp\u003e[double-headed eagle]\n-2- \n 24 – Grand Duchess Marie Alexandrovna\n 25 – Grand Duke Alexis Vladimirovitch\n 26 – Grand Duke Serge Alexandrovitch\n 27 – Grand Duke Paul Alexandrovitch\n 28 – Grand Duke Paul Alexandrovitch\n 29 – Grand Duke Alexis Alexandrovitch\n 30 – Grand Dukes Paul and Alexis and Duke of Oldenburg\n 31 – Grand Dukes Serge Alexandrovitch and Konstantin Konstantinovitch and the sister of Konstantin, Olga, later Queen of Greece\n32 – Grand Duke Nicholai Nicholaevitch\n33 – Grand Duchess Marie Pavlovna, wife of Grand Duke Vladimir\n34 – Grand Duke Nicholai Alexandrovitch (Nicholai II)\n35 – Grand Duchess Olga Konstantinovna, Queen of Greece\n36 – Grand Duchess Militza Nicholaevna\n37 – Duchess Alexandra of Oldenburg, 1st wife of Grand Duke Nicholai Nicholaevitch, died in 1900\n38 – Grand Duke Serge Alexandrovitch and Duchess Elizabeth Feodorovna\n39 – Grand Duke Vyacheslav Konstantinovitch\n40 – Grand Duke Dmitri Konstantinovitch\n41 – Grand Duke Konstantin Konstantinovitch\n42 – Grand Duchess Marie Alexandrovna, Duchess de Saxe- Coburg Gotha\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nJanuary 29th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. ME-1249\nRound snuffbox of spinach green Ural jade with hinged lid, mounted in gold. On the cover, set in diamonds, is the crown and monogram of Nicholai II, backed with two laurel sprays in green gold of exquisite workmanship, also set with diamonds. The top and bottom rims are engraved in delicate dot and dash design, while through the center runs a fillet of finely chased acanthus leaves in green gold and several tiny rosettes of red gold.\nThis superb example of the jeweler's art was designed by the celebrated jeweler to Nicholai II, Carl Faberge, and is hall-marked with his full name, the initials of his leading artist, Mikhail Perchin, the number \"56\" denoting the equivalent of 14 karat gold, the wreathed head of the government assay office, and the initials of the gold inspector \"YL\".\nFrom the collection of Nicholai II, last Czar of Russia, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nFebruary 8th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5571\nMagnificent gold snuffbox in oval shape with hinged lid. It is hand-wrought with a chased gold mounting. The lid has an oval gray and white cameo, masterfully carved with a mythological sea scene, signed \"W. Eissel\", outstanding German master. This is framed with fifty large diamonds and about one hundred small ones. The edge is in carved scroll design including two gargoyles over lapis blue enamel, and set with many diamonds, four of which are about one karat each. The sides are finished in the same treatment, having the crown and monogram of Kaiser Wilhelm in the front and the German imperial eagle in the back, all set in diamonds. The crown also has two rubies. At either end are small round cameos of mermen by the same master. Four kneeling cherubim, placed within shells of blue enamel and diamonds, support the cover. The bottom of the box is engraved with another sea scene showing Neptune and Venus receiving homage, while the background is again of blue enamel. This box was made for the Kaiser of Germany, and was so admired by Nicholai II, the former presented him with it.\nFrom the Snuffbox Collection of Nicholai II and his wife Alexandra, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nMay 11th, 1937.\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. JJ-5050/2\nExquisite oval icon of the \"Madonna of Kazan\". It is painted on ivory in a charming combination of water colors. The Greek symbols are for \"Mother of God\", \"Jesus Christ\" and \"Kazanski Mother of God\". The icon has a brass rim and is framed in rose velvet; it is backed with rose ribbed silk.\nAttached is the original government inventory tag, the abbreviations of which read: \"Alexander Palace Museum, Children's Apartments, Classroom of the Older Grand Duchesses Number 644/III\". These were the daughters of Nicholai II, whose palace was located in Tsarskoye Selo. This icon was undoubtedly executed by the Tsarina of Russia, a talented artist, whose work is easily recognized by her choice of colors and the fact that she invariably marked her paintings with the initials of her maiden name, Hesse.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. AV-5008/1\nOval icon medallion of solid gold. On one side is an exquisite enamel miniature of Jesus Christ dressed in blue and orange robes against a ground of brown scrolls on beige. His right hand is held in blessing, while in his left he is holding the open scripture. The Greek symbols about his shoulders are for \"Jesus Christ\", while those above the halo are for the \"Eternal Christ\". On the reverse side, on a ground of white enamel, is inscribed in black – \"Save and Protect\".\nThe gold is hall-marked with a number \"56\" denoting the Russian equivalent of 14 karat gold, and the device of the Moscow assay office.\nFound in St. Petersburg.\nThe fascinating history of icons can be traced back to the time of the pyramids in Egypt, but the oldest examples are to be found today in the Russian churches. The primary influence was that of the Byzantine, which accounts for their resemblance to the Italian primitives, with which we are more familiar. The spiritual feeling in these works of art is the expression of the monks, who executed them after long and fervent prayer. Larger icons are usually painted on wooden plaques; the small ones were more personal and were worn about the neck or carried in the pocket to be near at hand in time of need.\u003c/p\u003e\n","\u003cp\u003eMrs. John L. Pratt\nOctober 2nd, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RB-5210/37\nDelightful charm of a German Dachshund [underlined] in seated posture. Carved from genuine topaz, he is adorned with a gold collar and suspended from a gold link. His eyes are realistically set with emeralds.\nThis excellently modeled and lifelike animal was designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his talented stone carver, Kremlev.\nMrs. J. L. Pratt\nDecember, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1815\nCharming stone figure designed by the celebrated court jeweler to Nicholai II, Carl Faberge, and executed by his leading stone carver, Kremlev. Represented is one of the favorite sailors of Grand Duke Mikhail Alexandrovitch, brother of the last Tsar, Nicholai II. The name of the Imperial yacht \"Zarnitsa\" is inscribed in gold on the seaman's hatband.\nStanding solidly on his two feet of black onyx slightly spread apart, this sailor of courageous appearance is dressed in a spotless, freshly laundered suit of milky white jade. His piercing blue eyes, each set with a cabochon sapphire, sparkle with loyalty and sincerity. Flesh-toned aventurine makes up his interesting face, finely moulded [sic] with high cheek bones and sharp nose – typically Slavic characteristics. His sturdy hands are also of aventurine. This unusual portrayal, viewed from any angle, is singularly lifelike and attractive.\nIt is contained in the original hollywood box of the court jeweler, and is stamped with his full name beneath the double-headed eagle of royal appointment.\nThe \"Zarnitsa\" was anchored just outside of Kronstadt during the Krensky Revolution, and it is said that while the other sailors of the fleet joined the revolutionists, those on board the yacht ramined [sic] loyal to the Grand Duke Mikhail, in whose favor Nicholai II abdicated.\nMrs. J. L. Pratt \nDecember 9, 1937\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-517/4\nCross of hand-wrought silver, finished with a ball effect to represent jewels; Russian workmanship of the 18th century. On the face is the eight point Greek Orthodox cross, adorned with the crown of thorns. On either side is the spear and sponge of the Crucifixion, while below is the skull signifying that Christ conquered Death. The Slavic symbols read – \"King of Glory, Jesus Christ, son of God\". The reverse side is in scroll design.\nFrom the Imperial Chapel of the Feodorovski Cathedral, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eLillian T. Pratt\nChristmas, 1937\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. IP- 1843/4\nRare mosaic icon of \"St. Nicholas the Wonder Worker\"; Russian workmanship, circa 1850. This portrayal of Russia's most beloved Saint is so skilfully [sic] inlaid with thousands of varicolored stones that it gives the impression of being executed in oil. It shows great character and deep religious inspiration, rarely found in mosaics.\nSet off by a gold halo, St. Nicholas is represented making the sign of Jesus Christ with one hand, while in the other he holds a gold and green Bible. His gracefully folded robes of red and blue are trimmed with gold, and his stole of silver is embroidered with gold crosses. Slavic symbols on either side of the halo are for \"St. Nicholas the Wonder Worker\". The icon has a rim of fire gilt and is framed and backed in red velvet of a later period.\nFrom the apartments of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nJanuary 8, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/4\nParasol handle of frosted rock crystal, carved to represent the head of a duck, and mounted on mohagony [sic] banded in gold. The eyes of the duck are all the more lifelike for the two deep blue sapphires set in gold. Around the neck is a gold collar, set with fifteen green tourmalines. The ring of silver gilt was added later to the base of the handle.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Faberge, for Tsarina Alexandra Feodorovna and was found in her personal quarters in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. A-61\nUnusual frame of rose jasper and gold-on-silver, containing a snapshot of Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, taken in Peterhof, 1907. Dome-shaped and with easel back, it is contained in the original Vyatka birch box, lined with green velvet and white silk, of the court jeweler to Nicholai II, Carl Faberge. The lining is stamped with his name beneath the double-headed eagle of royal appointment.\nThe frame is hall-marked with the initials of one of Faberge's leading workmasters [sic], Mikhail Perchin; the number \"84\" denoting the Russian standard of silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the court jeweler, \"45196\".\nFrom the quarters of the children of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. E-754\nCharming miniature frame containing a photograph of the Tsarina Alexandra Feodorovna. Dome-shaped, it is made of lettuce jade, delicately decorated with chased green and red gold mountings. Above the oval aperture, rimmed in laurel leaf design, is a swag motif tied with a ribbon; below are two dainty rosettes.\nThis frame was made by the celebrated court jeweler to Nicholai II, Carl Faberge, and the gold-on-silver easel back is marked with the initials of his workmaster [sic] \"IB\"; the number \"88\" denoting the quality of Russian silver; and the wreathed head of the government assay office. It is also engraved with the original order number of the jeweler, \"0170\".\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/3\nEaster egg of green quartzite, varicolored gold and rock crystal, suspended from a chain of gold. A band of cut rock cyrstal [sic], bordered with narrow rims of gold, encircles the egg, separating the top from the lower portion. The top is surmounted with a wheel device decoratively worked in red and green gold, whose apex is a small Empirean [sic] wreath of laurel. A convex form of gold, delicately engraved in a wreath design covers the base.\nIt was created by the celebrated Russian court jeweler to Nicholai II and Alexander III, Carl Faberge.\nFrom the apartments of Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\u003c/p\u003e\n","\u003cp\u003eMrs. J. L. Pratt\nJanuary 27, 1938\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE, NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/1\nGraceful porte-poche of rock crystal with borders, handle and thee feet set with rubies and diamonds.  A gold border around the top is set with forty rubies and the corresponding border in the base has thirty-three rubies.  The question mark handle of gold, decorated with scroll design, is outlined with eight diamonds, set squarely.  Into each of the three ball feet are set thirty-two graduated diamonds. \nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé, and is hall-marked with his full name; the initials of one of his leading workmasters, Edward Kolin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.  It is engraved with the original order number of the court jeweler – \"40312\".  Since it was originally brought from Russia to England, it also bears the assay of the later country.\nFrom the apartments of the Tsarina Alexandra Feodorovna, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nJanuary 28, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/47\nCharm, in the form of an Easter egg, of exquisite simplicity.  It is made of spinach jade, belted with gold and a narrow fillet of diamonds, and is suspended from a gold link.\nThe egg was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé.\nFrom the apartments of Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/41\nEaster egg charm of gold, engraved in moire effect to represent clouds in the sky.  The design is based on the star and crescent motifs of Mohammedan origin.  Within the star form, outlined in relief, is set a diamond, and a large cabochon sapphire is enclosed within the crescent form.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster; the number \"56\" denoting the Russian equivalent of 14 Karat gold; and the device of the Moscow assay office, St. George slaying the dragon.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/46\nCharm of gold, purpurine and enamel, in the form of an Easter egg.  A circlet of diamonds separates the purpurine portion from the rest which is made up of alternating sections of opaque white and transparent emerald green enameling on a gold ground.  Each of the enameled sections bears a numeral of the year \"1900\", when it was presented to Grand Duchess Olga.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster.\nFrom the quarters of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nNote: purpurine is a composite stone developed by Fabergé, and reputed to be formed by a secret process of fusing gold and porcelain.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/39\nCharm of gold in the form of an Easter egg.  Palmetto leaves and the figure of an African elephant holding in his trunk a diamond, form the decoration.\nIn the style of Fabergé, the Russian court jeweler, it was created by the Kalodnikoff masters, bearing their hall-marks and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the apartments of the Grand Duchess Marie Nicholaevna, third daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1933\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/45\nUnusually handsome Easter egg charm of gold.  A fillet of diamonds separates a petal decoration from the upper part of the egg in which a solitaire diamond is set.  A cabochon sapphire is set at the base.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and is hall-marked number \"56\", the Russian equivalent of 14 karat gold.  \nFrom the apartments of Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J.L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/38\nEaster egg charm of gold-on-silver, inlaid with varicolored opaque [handwritten, transparent x'ed out] enamel and bearing the Russian letters \"XB\" front and back, the abbreviation of the Easter salutation \"Christ is Risen\".\nIt was designed by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II and Alexander III, and is hall-marked with the initials of his workmaster.  \nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/33\nCharm of clove pink matte enamel, covered with a filigree of gold intricate design of conventional fleur-de-lis and braiding.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the initials of his workmaster and the number \"56\" denoting the Russian equivalent of 14 karat gold.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/32\nCharm of gold, in the form of an Easter egg.  It is covered with enamel in the deep blue color, beloved of the Russian people, over delicate engine turning and is set with a diamond.\nIt was created by the celebrated Russian court jeweler to Nicholai II, Carl Fabergé, and is hall-marked with the number \"56\" denoting the Russian equivalent of 14 karat gold; and the initials of his master.\nFrom the quarters of Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/44\nEaster egg charm of topaz, with alternating sections of opaque white and translucent red enamel, banded with a circle of diamonds.\nIt was created by the celebrated court jeweler to Nicholai II and Alexander III, Carl Fabergé.\nFrom the quarters of the Grand Duchess Tatiana Nicholaevna, second daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/9\nExquisitely modeled figure of an African elephant with upraised trunk, wrought in twenty-two karat gold.  His lifelike eyes are set with diamonds, and the tusks are carved from ivory.\nCreated by Carl Fabergé, the celebrated Russian court jeweler to Nicholai II, it was made to the special order of his mother, the Dowager Empress Marie Feodorovna.\nFrom the quarters of the Empress, in the Anitchkov Palace, St. Petersburg.\nMrs. J. L. Pratt\nFebruary 1, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5214/13\nDelightful gold chain bracelet with safety catch.  It alternates with three red gold and three green gold links.\nIt was designed by the celebrated court jeweler to Nicholai II, Carl Fabergé, and executed by his workmaster whose initials it bears – \"AE\", together with the wreathed head of the government assay office.\nFrom the apartments of the Grand Duchess Olga Nicholaevna, oldest daughter of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nFebruary 2, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5209/26\nTiny, exquisite frame of lapis lazuli mounted on a rectangular base of gold-on-silver, supported by four ball feet.  The oval aperture, rimmed in gold, bears a photograph of Nicholai II.\nThis charming piece is from the quarters of Tsarina Alexandra Feodorovna, wife of Nicholai II, in the Alexander Palace, Tsarskoye Selo.\nMrs. J. L. Pratt\nApril 15, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSIES\nGraceful spray of pansies carved in amethyst, the centers set with brown diamonds.  Calyxes are formed in jade.  Rising on slender gold stems with leaves of Siberian nephrite, serrated and realistically modeled, the little pansy is set in rock crystal carved to represent water in a vase.\nCreated by the world-famed Russian jeweler, Karl Faberge, it is hallmarked with his name in Russian, and the initials of one of his leading masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18 karat gold.\nNumber RE5380-13\nMrs. John L. Pratt\nJanuary 9, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/2\nFlower fantasy exquisitely developed in jewels in the form of a dandelion seed ball.  Created by Carl Fabergé, illustrious jeweler to the Russian Imperial Family, this little piece typifies his finest work.  The head, with down of asbestos is developed around the seed pod and pedicels of platinum, delicately finished with tiny diamonds.  Serrated leaves carved in jade and graceful gold stalk rise from a little vase carved in rock crystal to represent a tumbler filled with water.\nFully hallmarked, it is signed with the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and with the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom a collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/10\nExtraordinary jeweled flower fantasy by Carl Fabergé, world famed court master to Tsars Alexsandr III and Nikolai II of Russia.  The blossom, carved in amethyst, opens slightly to reveal three stamens of gold, diamond set.  It surmounts a sturdy stem imbedded in gold soil within a tub-like container.  Leaves are realistically modeled of deep hued Siberian nephrite.  Encircling the container, which is fashioned of varitoned grey-brown agate, are hoops of gold pointed with small diamonds representing rivets.\nImportantly hallmarked, the stalk bears the full name of Fabergé; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Imperial Family.\nMrs. John L. Pratt\nJanuary 31, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/16\nPair of lovebirds carved in amethyst, huddled together on an ivory perch ornamented with transparent carnelian enamel on a ground of guilloché gold and dainty rings of platinum, diamond set.  Deep cabochon topaz are set in the ends of the perch bar; two fine gold chains, linked to a foot of each bird, are attached to the pedestal base.  The delicately wrought fantasy rests on an inverted circular base, fashioned of dark green Siberian jade mounted with a simple gold border.  Four ball feet of gold complete the stand.\nCreated by Carl Fabergé, eminent Russian court jeweler, this exquisite object is hallmarked with his name; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/17\nSmall cage of appealing design wrought with slender bars of gold and suspended with a gold loop.  Mounted on a base of Siberian nephrite which rests on four ball feet, the top is finished with seven pearls and with a decorative portion of turquoise composition, encircled by diamonds.  Within this cage, on a small twig-like perch, is a diminutive bird carved in emerald, with head lifted in song and eyes set with diamonds.  \nThe gold perch bears full hallmarks including the name of Fabergé; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nMrs. John L. Pratt\nFebruary 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/29\nParasol handle of limpid clear rock crystal etched in open squared effect, pointed throughout with cabochon rubies.  The base is of solid gold and is encircled with a conventionalized laurel wreath, intermittently bound with crossed ribbons.\nDesigned by Carl Fabergé, famed jeweler not only to the Imperial family of Russia but to the crowned heads of Europe and Asia, it is fully hallmarked.  Present is the name \"Fabergé\" (indistinct); the Russian initials of one of the master's leading artists, Mikhail Perchin; the wreathed head of the government assay office; the numeral \"56\" denoting the Russian equivalent of 14kt. gold; and the initials of the government inspector \"YL\".\nOriginally a parasol handle in the possession of the Tsarina Aleksandra Feodorovna of Russia, a flat base has been applied so that the little object may be used as a seal.  From the personal effects of the Tsarina in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.CA-5364/2\nGreen jade miniature frame designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II.  Made of one piece, it has two oval receptacles containing rare, original photographs of the court jeweler and his wife.  They are rimmed with delicate fillets of silver, applied with ruby and black enamel in a design bordered by lines of white.  The photograph openings are backed with ivory to which is attached a hinged easel of graceful design.\nThe easel is hallmarked with the full name \"Fabergé\"; the initials of one of his leading workmasters, Henrik Wigstroem; and the numeral \"88\" denoting the quality of Russian silver.\nAcquired from Nikolai Fabergé, son of the renowned jeweler.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\nFebruary 17, 1939\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/3\nJeweled flower fantasy created by Carl Fabergé, eminent Russian court jeweler, signed with his name and the initials of one of his leading workmasters, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nDesigned with ingenuous artistry, this branch of English hawthorn has small fruits (\"haws) of red and white agate, cleft leaves of jade and a gold stalk imbedded in a white agate pot with soil of gold.  It is mounted on a base of white jade.\nFrom the collection of a member of the Russian Imperial Family.\nThese flower creations represent the height of Fabergé's imaginative genius.  They were the favorite possessions of the late Tsar and Tsarina, both of whom were ardent flower lovers.  Several of these were created by Fabergé for King Edward VII of England who presented them to Queen Alexandra.  Upon her passing, these jewels were left to her son, King George V of England, and to Queen Maud of Norway.  Some of these fantasies are now the prized possessions of Mary, the Queen Mother of England.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5332/7\nCompanion figures of two French bulldogs, one seated in attentive attitude – the other, a pup, in crouched position.  Beautifully carved of smoky topaz, the eyes of each are set with cabochon sapphires.  Collars finished with pendant drops, are gold, set with faceted sapphires of fine deep color.\nRealistic in every detail, these little sculptures are designed and executed with incomparable finesse.  They are creations of Carl Fabergé, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia, who was, as well, jeweler to nearly all the crowned heads of the European and Asiatic continents.  Fabergé, expert in the art of small figure sculpture, was noted for his ability to impart to the materials in his hands a convincingly living quality of form.\nThe topaz dogs are from the collection of the Tsarina Aleksandra Feodorovna, , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5389/2\nHandsome parasol handle of Siberian nephrite known as spinach jade, banded in red gold, encircled in diamonds.  The central portion has a connecting bow motif developed in diamonds and two cabochon rubies of fine color.\nIt was created by Carl Fabergé, renowned jeweler to the Russian Imperial Family.  Smoothly modeled and gracious in its simplicity, it is characteristic of the decoratively useful objects made by him for the late Tsarina Aleksandra Feodorovna and her daughters, the young Grand Duchesses.\nMrs. John L. Pratt\nFebruary 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5416/28\nParasol handle of lapis lazuli and gold in hexagonal form.  Narrow strips of gold connecting with the collar, pointed alternately with diamonds and gold relief pattern in diamond effect.  Finished with a flat end of gold, the handle is suitable for use as a seal.  It is contained in its original case of green hand-tooled leather.\nOf Russian workmanship, in the style of Fabergé, it bears the master's initials \"AK\".\nMrs. John L. Pratt\nFebruary 20, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/16\nRare, jeweled flower fantasy in the form of a water lily spray, set in rock crystal,  carved to simulate a rectangular vase filled with water.  Beautifully modeled, blossoms and buds are carved in chalcedony; stamen clusters of gold are set with rubies of fine color.  The leaves, liquid in appearance and with natural veinings, are carved in Siberian nephrite.  Grouped together, these are supported on slender stems of gold of which the lower portion of which the lower branch is fully hallmarked with the complete name of the master-designer, Faberge, illustrious jeweler to the Imperial court of Russia.  Present also are the initials of one of his leading artists, Henrik Wigstroem, and with the numeral \"72\" denoting the Russian equivalent of 14kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 23, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/11\nIngenuous flower fantasy, finely detailed describing a Tibetian [sic] poppy.  Small buds and opening blossoms are fashioned in white chalcedony with peach tonings [sic].  The delicate stamens of gold, set with sapphires, cluster thickly in the fuller blown blossoms; centers are set with topaz.  Rhythmical stems rising from gold soil and finely worked sepals are in gold.  Carved in Siberian nephrite, the serrated leaves enclose the flower grouping.  A simulated tub carved in greyish-brown veined agate, is held with hoops of gold set with diamonds for the rivets.  \nAn extraordinary creation of Carl Fabergé, Imperial Russian master and illustrious designer in gems, the lower portion of the stem is hallmarked with his name in Russian; the initials of his able artist, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/4\nJeweled opium poppy, represented growing in a tub, designed by Carl Fabergé, Imperial Russia's greatest creator in gems.  Rising on sturdily modeled stalk of gold with blossom head full blown, it is delicately carved in amethyst.  A large cabochon Siberian amethyst, set in gold and red platinum, forms the heart of the blossom.  Surrounding this is a cluster of fine gold stamens pointed with diamonds.  The leaves are of extraordinary artistry.  Carved in Siberian nephrite, they follow the natural feeling of the growing plant.  The tub container is fashioned in brown-toned, striped agate.  Within this is soil of gold, and two gold hoops encircle the exterior.  Simulated rivets are diamond set.  \nThe stem is fully hallmarked with the complete name \"Fabergé\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/5\nLilies of the Valley\nEthereal flower creation developed in gems by Imperial Russia's foremost jeweler.  Tiny blossoms are delicately fashioned in quartz, with centers of gold.  Imbedded within gold soil in a container of brown veined agate, the blossoms and bands encircling the little tub are of 18kt. gold.  To this fact full hallmarks attest.  Present is the master's name \"Fabergé\"; the initials of one of his leading artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian [Imperial] Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5380/14\nDainty jeweled fantasy of a small hyacinth plant set in a little tub carved in white agate.  From the centers of the miniature blossoms of blue chalcedony appear gold stamens set with tiny emeralds.  Calyxes and leaves in realistic manner are of Siberian nephrite, and the stem isof [sic] 18kt. gold.\nThe lower portion of the stem, rising above the gold soil within a little tub, is hallmarked with the name of the master-designer, Carl Fabergé.  Present also are the initials of one of his ablest masters, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/12\nStalk of small asters, the blossoms carved in polished chalcedony, with gold centers, emerald set.  Calyxes are of green chalcedony, toning with the serrated leaves fashioned in Siberian nephrite.  The branch and extending short stems, joined irregularly with tiny leaflets, rise from a pot of jasper.  Wide gold bands encircle top and bottom of the container, the material of which, predominately brick-toned, shows platinum grains, throughout.  It may be noted that jasper and lapis lazuli from the Ural mountains frequently carried particles of precious metals.\nThe lower portion of the stem is fully hallmarked with the name, in Russian, of the master-creator of this little fantasy, \"Fabergé\".  Present also are the initials of one of his outstanding artists Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/11\nMiniature jeweled flower fantasy representing a rose plant imbedded in gold soil within a pot of grey-brown agate, banded in gold.  Bud-like blossoms of quartz surmount slender stalks of gold, realistically modeled in detail with thorns along their length.  Myriad small leaves in Siberian nephrite point upwards or cluster on drooping stems at the top of the container.\nThe little jeweled object, created by Carl Fabergé, eminent jeweler at the court of St. Petersburg, is fully hallmarked with his name; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5413/3\nRare, jeweled flower, fantasy, representing a branch of Queen Anne's Lace, imbedded within gold soil in a pot fashioned of dark red jasper, inclining gracefully to one side, the flower head is developed in platinum, pointed with diamonds on sturdy pedicels of gold.  The flower calyx is in chalcedony.  Gold stems bear small serrated leaves carved in nephrite, designed in perfect complement to the natural species.\nThe lower portion of the stem is fully hallmarked with the name \"Fabergé; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nOrange Blossom\nArticle No. RH-5380/10\nDelicately wrought flower fantasy created by Carl Fabergé, world famed court jeweler to the last two Tsars of Russia, Aleksandr III and Nikolai II.  Fashioned with consummated [sic] artistry, the buds and blossoms in chalcedony surmount a slender, curved stem of gold on which startingly [sic] realistic leaves appear, carved in Siberian nephrite.  Five of these cluster at the top and a large one is joined near the base of the stem, at the point where it is immersed in simulated water.  The little vase is ingeniously fashioned of rock crystal.\nFull hallmarks include the name \"Fabergé\"; the initials of one of his ablest artists, Henrik Wigstroem, and the numeral \"72\" denoting the Russian equivalent of 18kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nMrs. John L. Pratt\nFebruary 24, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/5\nFigure of a heron carved in blue-gray smoky agate, with legs and splayed feet of red gold.  The eyes are set with diamonds.\nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it was executed by one of his foremost artists, Henrik Wigstroem.  The bird shown upright, in resting position, carries one wing slightly higher than the other.  Sensitively modeled, fine detail of feathers and general form is evident.  Rhythmic in line, the little sculpture is a particularly beautiful example of the designer's individuality of expression.\nFully hallmarked, it bears the full name, \"Fabergé\"; initials of his workmaster Wigstroem; and the numeral \"72\" denoting the Russian standard of 18kt. gold.\nFrom the collection of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.VD-5399/4\nFigure of a \"Teterev\", wood grouse carved in black obsidian with eyes of diamonds, legs and claws fashioned in red gold.  The plump body is modeled smoothly and realistically described by restrained carving which suggests the feathered formation.  The bird is posed looking alertly to one side, with head inclined attentively and tail feathers raised.  \nCreated by Carl Fabergé, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia, it is hallmarked with his name and initials of his leading master, Henrik Wigstroem.  Present also is the numeral \"72\", denoting the Russian standard of 18kt. gold.\nFrom the personal quarters of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5408/16\nFigure of a Russian bear, smoothly carved in rock crystal, in standing posture.  Modeled with rare fluency of form and subtly detailed the little animal is shown with four [sic?] paws upraised and head turned to one side.  A striking feature of this beautiful sculpture is its perfect equilibrium notwithstanding the fact that the heavy body inclines forward.\nIt was designed by that master-creator in gems, Carl Fabergé, jeweler at the court of St. Petersburg during the reigns of the last two Tsars of Russia, Aleksandr III and Nikolai II.\nMrs. John L. Pratt\nMarch 3, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH845/1\nLocket and chain of solid gold.  The locket, oval in shape, encloses a plaque of pearl-white transparent enamel inlaid on a ground in sunburst and star design, framed within a scrolled pattern.  Applied to the enamel is a raised flower of gold, the petals of which are set with three rubies and three diamonds.\nIt was designed by Carl Fabergé, celebrated court jeweler to Tsar Nikolai II, and is hallmarked with the initials of his workmaster; the wreathed head of the government assay office; the initials of the silver inspector and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.  The chain of alternating smooth and etched oblong links, fashioned also by the court jeweler, is hallmarked with the initials of his workmaster \"H(?)V\".\nFrom the apartments of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Alexsandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nMarch 15, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.3531\nNineteenth century mahogany cabinet in French classic style, carved and ornamented with bronze mountings.  \"Espagnolettes\" form decorative motifs on portions of the frameworks.  Gracefully proportioned, it is fitted with removable glass shelves.\nDuring the twenty years previous to the Revolution, the style of French furniture reached a high standard of artistic excellence, both in design and execution.  This phase continued and produced a fine influence on the furniture of the next period, extending itself, as well, to the development of gracious furniture types in other countries.\nMrs. John L. Pratt\nMarch 17, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5454/3\nIntriguingly designed pendant in the form of a Russian Easter egg, suspended by two chains from a large loop.  Of solid gold, and fashioned to open midway on a small hinge, the six-pointed star ornamenting the top is set with a ruby and eighteen rose diamonds.\nDesigned by Carl Fabergé, Imperial Russia's greatest court jeweler, this little pendant charm was made for one of the young Grand Duchesses, daughters of the late Tsar Nikolai II.  It was found in the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. 5448\nUnusual, small parasol handle designed by Carl Fabergé, executed in his finest manner.  The ball top is fashioned in jade, the handle stick of gold is overlaid with blush-pink transparent enamel on a ground tooled in swag effect.  Two delicate fillets of gold, set with finely matched pearls, frame this portion.\nIt is contained in the original box of hollywood, stamped with the master's insignia beneath the double-headed eagle of royal appointment.\nOf great charm and simplicity, the little object was made for one of the daughters of the late Tsar Nikolai II.  It is from the children's apartments in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1938\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/12\nFigure of a polar bear carved in white granite, the eyes set with faceted emeralds of brilliant hue.  With teeth bared and head thrust forward, the animal seems to present a resistant front to some invisible enemy.  Heavy legs and paws and cumbersome body are well delineated, and the fur subtly handled.\nDesigned by Carl Fabergé, famous jeweler to the late Russian Imperial family, it was executed by one of his most talented stone carvers, Kremlev the Younger.\nFrom the apartments of Tsar Nikolai II in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No.5449\nFigure of a Dachshund carved in black Ural agate, lightly veined in red.  The little sculpture, smoothly executed and rhythmic in line, is shown in seated posture.  The eyes, set with diamonds, glisten in the finely modeled head and convey an expression of keen awareness, as well as that of patient watchfulness.  An appealing note is found in the left forepaw: the deep hued agate in which the entire body is carved, assumes a definite toning here, and the forefoot, consequently, is of grayish-tan color.\nDesigned by Carl Fabergé, Old Russia's illustrious jeweler for Tsars Aleksandr III and Nikolai II, and made for the Dowager Empress Marie Feodorovna, this is one of his exceptional animal sculptures.  It is contained in the original box of hollywood, velvet and satin lined, and stamped with the insignia of the royal jeweler beneath the double-headed eagle of royal appointment.\nFrom the apartments of the Dowager Empress in the Anitchkov Palace.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-1842/8\nCrouched figure of a cat gracefully carved in white transparent Ural stone, the eyes set with faceted sapphires.  There is a feeling of concentrated watchfulness in the rhythm of the body.\nIt was designed by the celebrated jeweler to the late Tsar's family, Carl Fabergé, and was executed by his able stone carver, Kremlev the Younger.\nFrom the collection of the Grand Duchess Olga Nikolaevna, eldest daughter of Tsar Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nApril 19, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle No. RH-5409/25\nGraceful figure of an ostrich, realistically carved in Siberian striated [sic] brown agate, with eyes set with emeralds and legs modeled in gold.  It stands on a plinth of giallo marble.  The body is beautifully executed in full detail.  Feather formation follow [sic] the natural veinings in the stone and the neck, rising arched, developed in the lighter-toned portion, is etched to show the smallest feather form.  \nIt was created by Carl Fabergé, world-famed jeweler to the Imperial family of Russia, court jeweler and designer in precious substances to nearly all the royal houses in Europe and Asia.\nMrs. John L. Pratt\nJune 1, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nROOSTER\nTiny, exquisite figure of a Rhode Island Red rooster, carved from a piece of veined gray and brown agate.  The natural coloring of the stone is admirably suited to representing the coloring of this famous chicken.  Each of its eyes is set with a sparkling diamond, and its feet are delicately fashioned in solid gold.\nThe rooster was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented young sculptor, Kremlov.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nJADE COUPE\nMagnificent cylindrical coupe wrought from a single piece of spinach jade.  The vessel is supported on a tripod base formed by three powerful sea horses [sic], superbly modeled in gold and silver.  A pierced gold band, displaying a design of dolphins and set with cabochon rubies and sapphires, rims the top.  Surmounting the domed cover of jade is a gold trident, beneath which is the head of Neptune, two female heads and a cabochon ruby and sapphire.\nThis distinguished objet d'art was designed by Carl Faberge, celebrated court jeweler to Nikolai II and is hallmarked in Russian with his full name; the initials of his workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; the number \"88\" indicating a fine quality of Russian silver; the device of the St. Petersburg assay office, crossed anchors and scepter; and the original order number of the court jeweler, 2017.\nMrs. John L. Pratt\nSeptember 25, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm in the form of a bear, carved from real opal, suspended from a gold link.  He is standing on four paws and his eyes are set with cabochon rubies.\nThis little animal was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and was executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBEAR CHARM\nTiny charm of a bear exquisitely carved from real amethyst and suspended from a gold link.  He is standing on his hind legs, and his eyes are set with small cabochon rubies.  \nThis charm was designed by the celebrated court jeweler to Nikolai II, and executed by his talented stone carver, Kremlov.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVASE\nSmall, oval vase carved in brown and white veined Ural agate.  The bowl is separated from the skirted foot by a band of finely matched turquoise set between two fillets of repousse [sic] gold.\nThis exquisitely graceful object was made in the Imperial Grinding Factory in Peterhof.  This factory was owned and operated exclusively by the court.\nFrom the quarters of Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold decorated with vertical sections of transparent ruby enamel, separated by fillets of transparent pearl enamel.  Each section has a dainty leaf design, giving the decoration a Persian feeling.\nIt is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nCharm in the form of three tiny Easter Eggs, suspended from a bar.  The eggs are of chrysophrase, agate, and reconstructed turquoise, while the gold bar is set with three cabochon rose tourmalines, alternating with two pearls.\nIt was designed by the celebrated court jeweler to Nikolai II, Carl Faberge, and is hallmarked with \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head of the government assay office (indistinct).\nFrom the quarters of the Grand Duchess Anastasia Nikolaevna, youngest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual charm in the form of an Easter Egg.  It is made up of two halves of Siberian amethyst, separated by a band of faceted rock crystal and held together on an axis of gold.\nIt was created by the celebrated court jeweler to Nikolai II, Carl Faberge, and the gold link is hallmarked with the initials of his assistant master \"PK\", and the number \"56\" denoting the equivalent of 14 kt. gold.  Since it was originally brought from Russia into France, it bears the French inscription mark \"ET\".\nFrom the apartments of the Grand Duchess Tatiana Nikolaevna, second daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nMiniature Easter Egg designed as a pendant charm, of gold-on-silver, the surface hand-tooled.  The swam motif modeled in relief, encircled within a modeled form, ornaments one side.\nLoops from which it is suspended are hallmarked, but the devices through years of wear have become less distinct.\nDesigned by Carl Faberge, court jeweler to the last two Tsars of the Romanov Dynasty, it is fashioned like those which he made expressly for the young Grand Duchesses, daughters of Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\u003c/p\u003e\n","\u003cp\u003eFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg pendant of gold, set with sapphires and diamonds in a connecting design resembling three medallions suspended from triangular ribbon pieces.\nIt is surmounted by two loops, one of which is hallmarked (indistinctly).\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nEaster Egg pendant of gold, decorated with transparent sapphire blue enamel over a field of delicate guilloche [sic] work.  It is set with a large diamond on one side and a small one at the bottom.\nThe loop is hallmarked with the number \"56\" denoting the Russian equivalent of 14 kt. gold and, indistinctly, with the initials of the master.\nDesigned by Carl Faberge, illustrious Russian court jeweler, the little charm is characteristic of those which he made expressly for the young Grand Duchesses, daughters of Tsar Nikolai II.\nMrs. John L. Pratt\nOctober 2, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nSILVER VASE\nVase of hand-wrought silver in Empire style, designed by the celebrated court jeweler to Nikolai II, Carl Faberge.  Standing on three claw feet, its sides are decorated with as many antique Russian coins, one of Empress Anna, dated 1712, one of Peter III, dated 1762 (he was the husband of Catherine the Great and ruled only one year), and one of Catherine the Great, dated 1764.  The bowl is outlined with a tiny twisted motif, while the upper rim is in acanthus leaf design.\nIt is hallmarked with the full name of the court jeweler, \"2K. Faberge\" beneath the double-headed eagle of royal appointment; the initials of his assistant workmaster \"AW\"; the number 88 denoting the quality of Russian silver; and the wreathed head device of the government assay office.  It also bears the jeweler's original order number #24066.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nINK WELL\nMagnificent inkwell of spinach jade, gold, silver and transparent enamel in the classic Empire style characteristic of many of the finest works of Carl Faberge, Russian court jeweler.  The base of Siberian nephrite is smoothly modeled down straight sides and under surface.  The collar of champ-leve [sic: champlevé] pearl -white enamel on a guilloche field designed in undulating effect is rimmed in gold motif.  Heavy gold swags in in the same feeling depend from this over the top surface of the bowl.  The hinged lid is vibrant with champ-leve [sic: champlevé] amethyst and pearl-white enamel in alternating bands, on guilloche fields identically designed with the collar.\nWithin the lid of gold-on-silver appear the hallmarks which include the Russian name of the master creator, Faberge; the Russian initials of his workmaster, F. Afanasaiev, the number \"88\" denoting the quality of Russian silver; and the wreathed head device of the government assay office.\nThe object is from the famous jade collection of Agathon Faberge, illustrious son of the jeweler, known throughout Europe during the Imperial regime as one of the greatest gem experts of the world.\nMrs. John L. Pratt\nDecember 4, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOCKET\nUnusual ball-like locket made from choice Siberian lapis lazuli and mounted with corded lattice work in gold.  Opening in half on a hinged lid, one side is equipped with a hinged glass miniature frame.\nThis locket was acquired from the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold and enamel created by Carl Faberge[sic], eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  The egg-shaped top has a field of guilloche work applied with mauve champ-leve [sic: champlevé] enamel, favorite color of the Tsarina Aleksandr Feodorovna.  This is decorated with a spiral effect of diamonds, terminating in a large diamond at the top.  The wide neck of yellow champ-leve [sic: champlevé] enamel is banded by two fillets of diamonds and is mounted with swags of green and red gold tied with diamonds.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle of gold in graceful tapering shape, created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II, Carl Faberge.  The sides and top are divided into five sections of rose champ-leve [sic: champlevé] enamel, with moss agate effects, over a field of guilloche work, and outlined in white enamel, each centered with a diamond.  The crown of the handle is rimmed with diamonds, and the top is set with a large diamond surrounded by small ones.  The neck, also of rose enamel banded with diamonds, is applied with criss-cross leaf motifs, each set with a diamond.\nIt is hallmarked with the initials of Faberge's [sic] leading workmaster, Mikhail Perchin; the number \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBULLDOG\nFigure of a bulldog cared in obsidian and designed by Carl Faberge, eminent jeweler to the Imperial Court of Tsars Aleksandr III and Nikolai II of Russia.  The dog's brilliant eyes, each set with a diamond, and his life-like expression, are a lasting tribute to the genius of Faberge.  Around his neck is a white enameled, gold collar from which is suspended a tiny bell.\nThe loop on the collar is hallmarked with the initials of Heinrich Wigstroen, successor to Mikhail Perchin as Faberge's [sic] leading master.  It also bears the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the wreathed head device of the assay office.\nFrom the collection of Prince Aleksandr Romanovski, Duke of Leuchtenberg.\nMrs. John L. Pratt\nDecember 6, 1939\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nParasol handle fashioned in 18 kt. gold, applied on a guilloche ground with long panels in champ-leve blue enamel.  Separations between these, and collars circumscribed top and base, are patterned in small flower and leaf effect, the motifs executed in transparent ruby and emerald enamel.  A faceted diamond is set in the circular top and this is enclosed within the three tones of transparent enamel bordered in gold.\nThe object was created by Russia's eminent court jeweler, Karl Faberge, famous throughout the world as the greatest creator in gems of modern times.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest masters, Henrik Wigstroem; the numeral \"72\" denoting the Russian standard of 18 kt. gold; wreathed head device of the government assay office; and the Russian initials \"YL\" of the government inspector.  Present also is another assay device, nearly obliterated through wear.\nFrom the Imperial Russian Collection.\nNumber 5450-6\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nLong parasol handle of spinach jade, gold, and enamel.  The smoothly formed top is finished with a wide collar of red and green gold applied with opaque white enamel and red-carnelian champ-leve enamel on a guilloche undersurface.  This is rimmed in fluent wreath effect in the characteristically classic manner of its maker, Karl Faberge, eminent court jeweler to Tsars Aleksandr III and Nikolai II of Russia.\nThe object is hallmarked with the Russian initials of one of the master's artist-assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and the device of the St. Petersburg assay office, crossed anchors and sceptre.\nNumber 5625-11\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPARASOL HANDLE\nRhythmically shaped parasol handle of finely carved jade, mounted in solid gold and set with numerous diamonds in leaf-veining effect following the movement of the carving.\nIt was made by the Court Jeweler to Tsar Nikolai II, Karl Faberge, outstanding craftsman of the last fifty years, and illustrious court master to the late sovereign and his father, Aleksandr III.  His full name appears on the object, together with the initials of one of his foremost masters, Mikhail Perchin.  It is also marked with Faberge's original order number, #1225.  The handle is contained in the original white hollywood box.\nFrom the apartments of the Tsarina Alexandra Feodorovna, wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber #E23\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nGLOBE\nTerrestrial globe fashioned of remarkably clear topaz, intricately carved with a map of the Earth and its great divisions.\nIt rests on a solid gold tripod, nested in the base of which is a compass.  The frame-stand is encircled with a wide gold rim band engraved to show the units of longitude reckoned 180 degrees East to West or 15 degrees to the hour, the months of the year inscribed in Russian, and the corresponding signs of the Zodiac.  \nPoles are represented by small gold markers engraved with the hours of the day, and these attach to the latitude indicator measuring the distance on the earth's surface northward and southward from the Equator.  Hinged to this is the terrestrial Meridian index.\nA rarity even among the exceptional objects of fantasy and the bibelots created by Karl Faberge, illustrious Court Jeweler to Tsars Aleksandr III and Nikolai II of Russia, the piece is hallmarked with the initials \"EK\" of the master's leading goldsmith, Edward Kollin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre, device of the St. Petersburg assay office.\nFrom the Imperial Russian Collection.\nNumber 5550-1\nMrs. John L. Pratt\nJanuary 5, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nDainty, rectangular frame of gold-on-silver with mauve champ-leve [sic: champ levé] enamel on a guilloche field, in basket weave design.  The oval aperture is rimmed in a fillet of gold set with pearls.\nThe frame, bordered with a continuous laurel leaf design in green gold, and delicately enhanced by the subtle color it encloses, is wrought in the finely characteristic style of the master.\nThe object is signed with the full name, in Russian, of Karl Faberge, celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  Frequent also is the number \"88\" for the Russian quality of silver; the Russian initials of Faberge's assistant master, Mikhail Perchin; device of the St. Petersburg assay office, crossed anchors and sceptre; and the jeweler's original order number #57700.\nThe object is backed with ivory and has an easel as well as a hook for hanging.\nFrom the apartments of the Tsarina Alexandra Feodorovna , wife of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber RH1698-100\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPANSY\nBeautifully composed spray of pansies, featured in rock crystal, fashioned to represent a small vase filled with water.  On a single stem of gold, three branchlets [sic] divide, each topped with a blossom carved in golden-hued and carnelian agate.  Petals, engraved with simulated veinings,[sic] curl realistically, held by calyxes of gold, and centers are set, each with a diamond.  Nephrite leaves group mainly along one long branchlet,[sic] reaching toward the light in their ascent.\nKarl Faberge, Russian court jeweler to the last two sovereigns of the Old Empire, created the little fantasy.  It bears his name in Russian; initials of one of his ablest assistants, Henrik Wigstroem; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and an assay device, in all likelihood that of St. Petersburg, now obscured.\nNumber 5509\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVERBENA\nDainty flower form created by Karl Faberge, Imperial Russia's most illustrious designer in gems.  Fashioned as a small verbena plant, the tiny blossoms are carved in chalcedony and white quartz, the centers pointed with diamonds.  These are joined to the gold stem by pedicels of gold.  Leaves are in Siberian nephrite.  The little tub, within which the plant is imbedded in gold soil, is of brown veined agate.\nLower portion of the stem is fully hallmarked with the complete name of the master in Russian, \"Faberge\"; the initials of one of his ablest artists, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.  \nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-6\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nBUTTERCUP\nJeweled flower fantasy of buttercups with three blossoms fashioned in translucent yellow agate, with stamen centers, diamond set.  Rising on graceful, slender stalks of gold, their serrated leaves, carved in Siberian nephrite, thrust upward through the gold soil in a container of Siberian lapis lazuli.  This rests on a square plinth of white jade.\nThe lower portion of the stem is hallmarked in full with the complete name, \"Faberge\"; the initials of one of his ablest workmasters, Henrik Wigstroem; and the number \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nNumber RH5380-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLILIES-OF-THE-VALLEY\nDelicately wrought lilies-of-the-valley with blossoms in translucent white chalcedony with gold centers, drooped on long stems of gold, from the base of which rise leaves in nephrite.  The little fantasy rests within rock crystal fashioned to represent a vase filled with water.\nThe object was created by the celebrated court jeweler to Tsars Aleksandr III and Nikolai II of Russia.  It is fully hallmarked at the base of the stem with the master's full name in Russian, \"K. [struck through] Faberge\"; the numeral \"72\" denoting the Russian equivalent of 18 kt. gold; and the initials \"HW\" for Henrik Wigstroem, one of Faberge's ablest workmasters.\nNumber RH5380-9\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nPRIMROSE\nGraceful flowering primrose branch rising from a rectangular vase carved in rock crystal.  The container is designed in such a manner that it has the appearance of being filled with water.  Full blown flowers are in carnelian-toned agate, stamen clusters of gold surrounding brilliant centers set with diamonds.  The leaves, carved with rare finesse are in Siberian nephrite, and stems are made of 18 kt. gold.\nKarl Faberge, Imperial Russia's greatest court jeweler, designed the extraordinary fantasy.  It is fully hallmarked with his name in Russian; with the initials of one of his ablest workmasters, Henrik Wigstroem; and the numeral \"72\" denoting the Russian equivalent of 18 kt. gold.\nFrom the collection of a member of the Russian Imperial Family.\nRH5413-2\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nHUMMING BIRD\nExquisitely carved figure of a humming bird with extended wing, resting on a high perch.  It was created by Karl Faberge, world-famed court jeweler to Aleksandr III and Nikolai II of Russia.\nFormed in smoky-toned translucent agate, the little figure is modeled with simplicity and fine attention to necessary detail of feathers and expression.  The eyes are set with diamonds.  The perch on which it rests is of 18 kt. gold, the horizontal bar being finished at either end with a cabochon sapphire and a circlet of diamonds.  Where the verticle [sic] rod joins purpurine base, banded and footed in gold in characteristic style of the master, it is encompassed by a collar of opaque and transparent enamel in white and pale tangerine.\nRendered indistinct through the years, are the hallmarks which appear on the under rim of the base.  These include the numeral \"72\" denoting the Russian standard of 18 kt. gold; and the initials \"HW\" for the Court Jeweler's notable workmaster, Henrik Wigstroem.\nThe composition known as purpurine is associated, if not entirely, at least most closely with the work of Faberge.  It was he who discovered the process whereby the fusing of porcelain and glass resulted in the extraordinary rich, red color.  The substance results, more often than not, although in a few of the rarest pieces, such as the one described above, the composition is smooth.\nNumber RH5408-14\nMrs. John L. Pratt\nJanuary 9, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nDACHSUND [sic]\nBeautiful, detailed figure of a dachshund, created by Karl Faberge, illustrious court jeweler to the monarchs of Europe and Asia, and especially to the last two Tsars of Russia.  It is carved in fine, brown agate.\nEach movement of the little body, subtly expressed, contributes to the whole rhythmical form.  The eyes are set with cabochon rubies.\nNumber 5478-5\nMrs. John L. Pratt\nJanuary 10, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG PENDANT\nImperial Russian Easter Egg pendant carved of pink orletz, known as eaglestone, found in the Ural mountains.  It is mounted in gold with an abruptly bent loop pinioned to either side of the top.  Through this passes a second large loop for hanging.\nCreated by Karl Faberge, illustrious court jeweler to the last two Tsars of Russia, it is hallmarked with the initials \"AD\" of one of his workmasters, and with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nIt is from the collection of the Grand Duchess Marie Nikolaevna, third daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5625-3\nMrs. John L. Pratt\nJanuary 24, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCOIN\nLarge commemorative medallion heavily wrought in silver, featuring Queen Victoria of the British Empire on its cover with the inscription \"Victoria Regina Imperatrix\" – Victoria, Queen and Empress.  The back is modeled in relief with figures of Greek mythology, and with shields of the continents massed on the lower edge entitled \"Asia\", \"America\", \"Europe\", \"Austral-Asia\", and \"Africa\".  Marvelously fashioned to conceal all but a vestige of the device by which the hinged lid opens, the piece contains two oval miniatures of Queen Alexandra and King Edward VII of England as Princess and Prince of Wales, hand-painted on ivory and framed with elaborate mounts of gold.  These include the plumed crown of the Prince of Wales and ribbons bearing the inscription \"Ich Dien\" – I Serve, motto significant of the Hanoverian line of the British Royal House.  \nThe cover of the piece is marked with the initials of the artist, \"JEB\".  It is of English workmanship and was made by the firm of \"George Edward \u0026amp; Sons\", Silversmiths by Appointment to the British Court.  It is contained in the original red velvet case.\nNumber 5450-17\nMrs. John L. Pratt\nJanuary 31, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG\nImperial Easter Egg of rose quartz.  It was polished in the Imperial Grinding Factory in Peterhof which was founded by the Empress Elizaveta Petrovna.  At the larger end is found a magnificent star similar to that of a star sapphire.\nIn Imperial Russia the Easter Egg was of the greatest significance, symbolizing as it did the Resurrection and beginning of life and hopefulness.  During the festival of Easter, the year's greatest elaborate and simple eggs were given by all orthodox believers.\nThis egg of rose quartz was the property of Grand Duchess Olga Nikolaevna, oldest daughter of Nikolai II, in the Aleksandr Palace, Tsarskoye, [sic] Selo.\nNumber RH-5332-17\nMrs. John L. Pratt\nFebruary 6, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nVIOLET\nJeweled violet fashioned in 18 kt. gold, the diamond-centered blossom naturalistically textured with an overlay of matte enamel, leaves wrought in Siberian nephrite.  Resting in its vase of rock crystal carved to represent a tiny tumbler filled with water, the flowerette [sic] inclines gracefully on its slender stem as if borne to one side by the weight of its petals. \nMady [sic] by Karl Faberge, illustrious court jeweler and in the master's best style, the little fantasy bears the assay mark of London in which city it was found.\nNumber 5756-19\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nPendant charm in the form of an Imperial Easter Egg of gold, applied with champ-leve [sic: champ-levé] ruby enamel on a surface tooled to represent a leaf form, and alternating sections in ultramarine blue enamel.  The four portions are banded with diamonds crossing at the underside and fashioned at the top with a double loop for hanging.\nMade by Karl Faberge, the larger of the loops is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and initials \"BF\" of one of the master's assistants.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent the most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-4\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nDelicately worked Imperial Easte[r] Egg charm of fete-ui mounted in gold and set with diamonds and rubies.  Describing a shower of tiny flower blossoms, small traceries in the precious metal depend rhythmically from a central repousse form at the top.\nTwo loops for hanging are hallmarked with the device of the workmaster \"MP\" for Mikhail Perchin, assistant of the illustrious court jeweler, Karl Faberge; and the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nExquisitely hand-wrought small double picture frame of a thin solid slab of Siberian nephrite mounted with motifs of the Empire period.  Above the rectangularly cut apertures, enframed in pearls, is a long floral swag developed in several tones of gold and set with cabochon rubies.  The central design shows a graceful  flower basket which depends from a triple bowknot.  A similarly fashioned classical design with long pole terminating with the traditional pineapple suggestion, is centered with a flowing ribbon.  The squared openings are backed in mother-of-pearl, and the little piece rests on an easel wrought in gold-on-silver.\nCreated by Karl Faberge, it is fully hallmarked with the master's name in Russian; with the numeral \"88\" denoting the standard of Russian silver; the wreathed head device of the government assay office; and Russian initials \"YA\" of the official inspector.\nNumber 5777-8\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nTABLE BELL\nSmall table bell of red gold, designed in cupola form with tapering oval handle.  \nSole ornamentation consists of horizontal ridges which encircle the entire piece.  Producing a musical note as it strikes the side of the bell, the clacker is modeled as an elongated drop.  \nThe little piece was fashioned by Karl Faberge, jeweler to the last two sovereigns of Old Russia, and is hallmarked with the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; crossed anchors and sceptre device of the St. Petersburg assay office; and with the initials of one of the master's assistant goldsmiths.\nNumber 5839-12\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame of a solid slab of translucent jade, mounted in two tones of gold with ornamental border and radiating stripes from an inner oval framework.  Containing the photograph of the small daughter Ireene of Prince Felix Youssopoff, it is exquisitely worked in the best style of the great court jeweler, Karl Faberge.  Mount designs include small four-petaled open blossoms, a twisted cabling and an alternating concantenate [sic] border within the outer edge.  \nDesigned with an ivory and gold back for resting on a table or hanging, the piece is hallmarked with the initials of one of the master's leading assistants, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.\nNumber 5839-9\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nTiny double, gold frame, hand-wrought with incised stylized borders and a tooled ground on which is applied transparent pearl-white enamel.  It contains portraits of Tsar Nikolai I of Russia in uniform, decorated with various orders of knighthood, and his wife, the Tsarina Aleksandra Feodorovna who also wears one of the star orders of the Empire.  Each of the sovereigns is portrayed wearing the blue ribbon of the Order of St. Andrew.  Finely executed, these are set off by interior oval frames in the manner of the border.\nThe object rests on a gold easel and is backed in ivory.\nNumber 5840-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nFRAME\nSquare picture frame fashioned to contain a miniature.  Hand-wrought in gold and applied on a guilloche field with transparent enamel in rich cobalt blue, the outer frame is developed in two tones of gold with a running border of leaves, and the inner fillet is bordered in pearls.\nThe piece, made by Karl Faberge, jeweler to the last two Tsars of Russia, is finely hallmarked with the master's full name in Russian; with the initials \"MP\" of one of Faberge's ablest associates, Mikhail Perchin; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of St. Petersburg.  The object bears as well the original order number, 58898.\nIt is backed in ivory and provided with a gold easel rest and a loop for hanging.\nNumber 5808-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nKOVSH\nCommemorative kovsh, smoothly modeled in red gold, featuring the Imperial double-headed eagle in diamonds on the prow.  Engraved within the border, fine old Russian stylized motifs are incised on the highly polished surface.  In the base, engraved within a heavy laurel wreath in repousse, a five ruble yellow-gold coin of Catherine the Great bears the Empress' portrait and, on the underside, the date \"1776\".  \nThis rare objet d'art was created by Karl Faberge and executed by his leading gold master, Edward Kolin.  Underside of the prow [lined through] handle bears, together with the jeweler's original order number #4297, the following hallmarks: the initials of the workmaster; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and crossed anchors and sceptre device of the St. Petersburg assay office.  \nNumber 5756-18\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nCHICK\nBaby chick, skilfully [sic] carved in richly-toned rose jasper with feet modeled in 18 kt. gold.  The eyes are set with cabochon rubies.\nCreated by Karl Faberge with fine expression of form and subtle line, this little object exemplifies the perfection of detail and ingenuous appeal which the master brought to the art of stone cutting.  \nFully hallmarked, it bears the number \"72\" denoting the Russian equivalent of 18 kt. gold; wreathed head of the government assay office; initials \"TL\" of the government inspector; and initials of the workmaster \"HW\" for Henrik Wigstroem.\nPresent also is the original blue enameled number, G21632, under which it was inventoried in the Gatchina Palace.\nNumber 5791-10\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg finely wrought in gold, hand-tooled and overlaid with orchid-pink champ-leve[sic: champ-levé] enamel and set with diamonds and a cabochon emerald.  Fashioned in panelled [sic] form, with diamond bands separating the enameled portions enhanced each by a stylized spray of gold laurel, the cabochon gem stone is featured in the based enframed [sic] in diamonds.\nIt was designed by the celebrated court jeweler, Karl Faberge.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nHandsome Easter Egg pendant of gold designed with oval medallions mounted with minute flower forms.  These, pointed with pearls and diamonds, are enhanced by vibrant enamelling [sic] in grotto green and old red.  Opaque white borders each of the four medallions.  The base is finished with a tiny pearl and the top with two loops for hanging.\nMade by Karl Faberge, both of these bear hallmarks including the numeral \"56\" denoting the Russian equivalent of 14 kt. gold and insignia, obscured, of the workmaster.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-5\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nUnusual Easter Egg charm designed as a locket to open by means of pressure on the tiny diamond thumb piece set in the base.  Of gold, overlaid with opaque white enamel streaked with swirls of pink to represent a rosebud, brilliant green enamel on a guilloche ground forms intricate patterns in repousse over the bud form to suggest the tendrils of a wild rose.\nIt was created by Karl Faberge, Russian court jeweler, and executed by one of his most illustrious assistants, Mikhail Perchin, who initials, in Russian, appear on the larger of the two loops.  Present also, but nearly obliterated through wear, is the numeral \"56\" denoting the Russian equivalent of 14 kt. gold.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 5903-6\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nEASTER EGG CHARM\nImperial Easter Egg charm of gold and sky-blue enamel set with a piece of rose quartz cut en cabochon.  Girdled with a fine gold band, the upper portion, terminating in a point, is hand-tooled beneath the enameled surface in delicate basket weave pattern.\nSurmounted with loops for hanging, the larger of the two is hallmarked with [in right margin a circle with slash through it and capital \"A\"; next text up to semi-colon appears to be lined through] the name of the Russian court jeweler Karl Faberge; the numeral \"56\" denoting the Russian equivalent of 14 kt. gold; and certain other marks, partly obliterated through wear.\nThese miniature Easter Eggs, looked forward to each year by the younger members of the Imperial household, represent most intricate and elaborate workmanship.  Enlarged, many of them would be as compellingly beautiful as the Gift Egg presented each year to the Tsarina and the Dowager Empress.  The Grand Duchesses used them as charms, as pendants, for \"bangles\" on bracelets, or suspended from thin gold chains in the manner of necklaces.\nNumber 6201-1\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nLOBSTER CHARM\nUnique charm modeled in gold and applied with transparent lacquer-red enamel on a tooled field, in the form of a lobster claw.  Characteristically jointed, the pincer end holds a faceted diamond in a prong setting.  It is surmounted by double loops for hanging.\nOriginally designed as a stick pin, this interesting charm was made by Karl Faberge, jeweler to the late sovereigns of Russia.\nNumber 5870-3\nMrs. John L. Pratt\nDecember 4, 1940\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\u003c/p\u003e\n","\u003cp\u003eLOT #1189 – ARTICLE #8\n\"PORTRAIT OF ANDREW JACKSON\"\nBy: Ralph E. W. Earl\nAmerican………………….XIX Century\nThe expert on American portraits, Mr. Albert Rosenthal states: \"Andrew Jackson, by E. W. Earl.  This unusual and interesting decorative canvas of the hero of New Orleans adds an unique portrayal of this outstanding figure in American history.  Its painter had opportunities for an intimate study of his subject, having practically been a member of the family through his marriage to the niece of General Jackson.  He represents his subject in a heroic and dramatic way and caught him in action both in the movement of the body and of facial expression.  The portrait is in exceedingly fine condition.\"\nThis excellent portrait, of great American historical importance is dated at lower left, 1823.\nIt was acquired from Plaza Art Auction Galleries, New York City, January 25, 1935. (C. Michaelson Sale)\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg\nVirginia\nJanuary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nHAMMER GALLERIES\n682 FIFTH AVENUE – NEW YORK\nLOT #505 – ART. 6\nMARINE PAINTING ON CANVAS\n\"THE AMERICAN PACKET SHIP 'DREADNOUGHT'\nOF NEW YORK\".\nBy: James Wilson Carmichael\nENGLISH-1800-1868\nFrom the William Randolph Hearst collection of works of art and furnishings, acquired over a period of fifty years, and consisting of objects from every familiar category of art, covering almost every country and period from 2000 B.C. to the end of the 19th century.\nThis vast and distinguished group of objects owned by the International Studio Art Corporation, eminently rich in content, as a whole forms an impelling and unified pattern despite its wide diversity, making it worthy of a large museum; and it is as evident that individual pieces will, by their abundant beauty and appeal, serve the harmonious purposes of use and enjoyment in the modern home.\nMrs. John L. Pratt\nFredericksburg, Va.\nFebruary 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nMINIATURE IN FRAME\nSmall, round, gold frame by Faberge, wrought in exquisitely delicate form and ornamented with haut-relief floral swags, a spray of laurel and a graceful bowknot.  It contains a beautifully painted miniature on ivory of the late Queen Alexandra of England, sister of the Dowager Empress, Marie Feodorovna of Russia.  This is immediately enframed [sic] within a rim of red cisele [sic] gold, and an outer gold rim is finely engraved to finish the piece.\nProvided with a modeled gold easel and with a loop for hanging, the little bibelot of backed in ivory held by gold screws.\nIt is one of the characteristically superior works of the famed Russian court jeweler, Karl Faberge.\nFrom the collection of Prince Youssopoff.\nMrs. John L. Pratt\nFebruary 26, 1941\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nFLORENTINE RENAISSANCE BUST\nLorenzo the Magnificent gave to the period of the Renaissance such impetus and encouragement that they served as the brush [??] which [??] the renewed interest in Classical Art.\nLorenzo had his faults, but his love for gems and jewels was less a fault than a talent, for he gathered together one of the finest collections of carved stones and exquisite jewelry ever to be owned by one man, and because he was a collector of Classical Art, others imitated him and followed his example, thus creating a market for the lapidary and goldsmith's work which has never been equalled. [sic]\nA development from this effort to create unusual pieces of jewelry and decorative objects was the use of large baroque pearls in their natural form.  The jeweler eagerly bought these pearls and after recognizing in one the body of a swan, in another the torso of a man, or, as in the figure of the warrior, a well-molded [?] helmet, he proceeded to make a design that completed the picture which his imagination visuallized [sic] with the pearl.\nIt is interesting, therefore, in contemplating the beautiful statuette of the warrior, that the helmet-shaped pearl was in all possibility the inspiration for the subject.\nWe do not know for what aristocrat it was made; we simply know that only a man of fine taste and great wealth could have commanded such a piece from his artisans and that the latter were among the best of the Renaissance period.\nThe best is that of a bearded Greek warrior carved from a large matrix emerald, showing fine detail in portrayal and in execution; on the head the warrior wears a gold helmet covered with the pearl and topped with a winged dragon; the bust stands on four golden snails [??] and is brightened about the [??] with rose diamonds.  The plinth is of topaz quartz carved in cameo [??] with heads of warriors and a philosopher.\nThis piece was formerly a part of the well-known Henry Walters Collection.\nLillian Pratt\nJanuary, 1945\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nArticle #5324\nA nine-paneled, hinged screen closes to form this exquisite egg of solid gold.  Surmounting it is the symbol of Christianity, a pelican feeding her blood to her young, rising gracefully from a golden nest.  The pelican is enameled in pastel tones – the wings and eyes being set with diamonds.  On each panel is a painting by Zehngraf, on ivory, showing various institutes of which the Dowager Empress Marie Feodorovna was the patroness.  A fillet of gold, with an inner rim of pearls, frames each scene.  On the reverse side, reading from left to right, the panels are inscribed as follows:\n1 – \"Zenia Institute, founded in 1894\".\n\"Nicholai Orphanage, founded 1837\".\n2 – \"Patriotic Institute, founded 1827\".\n3 – \"Smolni Institute, founded 1764\".\n4 – \"Ekaterina Institute, founded 1798\".\n5 – \"Pavlov Institute, founded 1798\".\n6 – \"St. Petersburg Orphanage of Nicholai, founded 1837\".\n\"Elizabeth Institute, founded 1808\".\nA center panel which serves as an easel for the egg when opened is chased on one side with a grouping symbolic of the arts; and on the other side with a motif suggesting knowledge.  When closed, the egg shows an elaborate design in Empire style and bears the inscription \"Visit the vineyard and you will also live, 1797-1897\".\nThe gold stand has four columns surmounted with crowned eagle heads and finished with claw feet.  Between the columns is an interesting design made up of crossed arrows and laurel leaves.  This gift, contained in its original red velvet case, was created by the celebrated court jeweler to Nicholai II, Carl Faberge, and hallmarked with his full name; the initials of his leading workmaster Michael Perchin; the number \"56\" denoting the Russian equivalent of 14 karat gold; and the device of the government assay office.\nIt was presented to the Dowager Empress by her son, Nicholai II, Easter 1897.\nMrs. J. L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nTABLE\nOval tea table of mahogany with mirror and fine silver chased mountings.  A small oval tray, with pierced marquetry can be raised or lowered by regulating a latch beneath the table.\nThe silver mountings were made by the celebrated court jeweler to Nikolai II, Karl Faberge, and are designed in his typical Roman staff and ribbon motif.  The table itself was made in Paris by Escalier De Cristal, whose name is burned in the bottom.\nFrom the personal quarters of the Tsarina Aleksandra Feodorovna in the Aleksandr Palace, Tsarskoye Selo.\nNumber 5454\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle Nos. 5523-5524\nPair of icons depicting Saint Savior and \"Our Lady of Iberia.\"  They are painted on wood in warm coloring with artistically wrought trappings of gold on silver, set with Ural stones.  The Greek symbols on either side of the halos signify Jesus Christ and Mother of God respectively.\nThey were made by the court jeweler, Karl Faberge, master craftsman and designer and are all marked with his full name beneath the Double-headed Eagle of Royal Appointment, and the figures \"88\" which denote a very high quality of Russian silver.  The icons are backed with cerise velvet and are contained in the original boxes of Holly wood, lined with silk and velvet and are also marked with the name of the court jeweler.\nThese icons were made for the last Czar, Nicholai II, and were found in his quarters in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. 5846\nIcon of hand-hammered gold on silver depicting Saint Maria, Saint Nicholas, the Wonder Worker, and Saint Alexander Nevsky.  God the Father is represented in the Heavens above.  The oval frame is mounted at the top with the Holy Dove.\nThe icon was presented to the Czarevitch Nicholai Alexandrovitch, eldest son of Alexander II, who died before his father, thus permitting his younger brother, Alexander III, to succeed to the throne.  On the back of the icon is engraved: \"To His Imperial Highness, The Sovereign Heir, Czarevitch Nicholai Alexandrovitch, in honor of his confirmation, 1859.  8th of September.  This heartfelt offering from the Master of Silversmiths, Vasily Fedotov Ilyia, made by his own hand.\"\nFrom the quarters of the Dowager Empress Marie Feodorovna.  Bears the Alexander Palace inventory no. ADM 94735 A.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A68\nExtremely rare icon pendant with gold on silver mounting.  The medallion is very delicately hand-hammered and inlaid with richly colored enamel representing the Saint Savior Enthroned.  The Greek symbol of Jesus Christ appears on either side of the halo and the opened book bears the invitation \"Come Unto Me etc.\"  The frame is composed of hundreds of pearls. On a separate medallion above is engraved the Holy Vernicle.  The back of the pendant is engraved with the symbols of Jesus Christ.\nFrom the Prie-Dieu of the Czarina Alexandra Feodorovna, wife of the last Czar, Nicholai II, in the Imperial Chapel of Feodorovna at Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. A105\nIcon of unusual shape, hand-hammered, chased silver.  Represented are Saint Nicholas in the center, Saint Alexander on the left and Saint Alexis on the right.  These were the patron saints of the last Czar, Nicholai II, his wife, Alexandra, and his son, Alexis.  In the mounting are represented two Guardian Angels holding the crown, surrounded by lovely garland effects and set with green Ural stones.\nThis icon was made by the Court Silversmith, Klebnikov, and bears his full name below the double-headed eagle of Royal Appointment.  The figures \"84\" denote the Russian equivalent of Sterling silver.\nFrom the cabinet of Nicholai II in the Alexander Palace, Tsarskoye Selo.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[double-headed eagle]\nRUSSIAN IMPERIAL TREASURES\nArticle No. H3825\nUnique cheese spoon of gold on silver in grapevine design, while a crown in relief forms the end of the handle.  Below this crown appears the coat-of-arms of Prince Yousoupoff on one side and his family monograph on the other.  It was made in England, circa 1847.  From the Yousoupoff Palace on Moika Canal in St. Petersburg.  \nThis Prince will be remembered for the prominent part he played in the assassination of Rasputin, the monk who wielded such influence over the last royal family of Russia.\nMrs. John L. Pratt\nFROM THE HAMMER COLLECTION – 682 FIFTH AVENUE – NEW YORK\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nEaster Eggs\n1. Emerald enameled egg, presented by Czar Nicolai II to his mother, The Dowager Empress Maria Feodorovna, in 1912.  The Empire design of the egg was to commemorate the 100th anniversary of the war of the fatherland against Napoleon.  The folding screen of miniatures, which fits into the egg, shows the regiments of which she was honorary Colonel-in-Chief, which regiments were active in War of 1812.  \nHeight including stand, 7\".\nDiameter, 4 ½\"\nScreen opened measures 2 ½\" x 12 ¾\"\n2. Ruby enameled egg presented by Czar Alexander III to his wife Czarina Maria Feodorovna in 1893.  Has four miniature views of the Caucasian mountainside, and their son, Grand Duke George who had to live in high altitudes due to his ill health.  \nHeight 6\" including stand\nDiameter 3 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n[On Hammer Galleries stationery, insignia of the Galleries with its double-headed eagle to the left of header; to the right, insignia with the inscription \"By appointment to His Majesty the King of Egypt]\nIMPERIAL RUSSIAN EASTER EGG\n*1896*\nPresented by the Tsar Nikolai II to his wife, the Tsarina Aleksandra Feodorovna, at Eastertide in the year of their Coronation in Moscow, the magnificent Imperial Easter Egg is rock crystal and gold inlaid with rare champleve enamel and set with gems is one of the monumental works of the illustrious Russian Court Jeweler, Karl Faberge.  One of the fabulous forty-nine jeweled Easter gifts in the form of eggs symbolic of New Life, Resurrection and Hopefulness, received by the Empresses Maria Feodorovna and Aleksandra Feodorovna at the height of the Easter Festivals, the rock crystal egg is surpassed by no other one of the artist's creations, and it is said that neither is it equaled in purity of form and adroit workmanship by any of the other jeweled eggs.\nFashioned in a block of rock crystal hollowed to remarkable thinness, banded in diamonds and translucent emerald enamel, it is surmounted with a twenty-seven carat Siberian emerald cut en cabochon and pointed.  It is mounted on a pedestal of gold inlaid with brilliant varicolored enamel wrought in a series of monograms of the recipient as the Princess Alix of Hesse-Darmstadt before her marriage, and later as Aleksandra Feodorovna, Empress of Russia.  Above these appear diamond crowns of the respective royal houses, and narrow diamond borders enframe the spheroidic steps of the pedestal which rises from a circular stepped base in rock crystal.\nWithin the egg, twelve handpainted miniatures on ivory, signed, by Zehngraf, framed in gold and controlled by the emerald at the apex, revolve on a gold columnar axis.  These, of the royal residences in Germany, England and Russia associated with the life of the Tsarina, include views of palaces in and near Darmstadt, Hesse, such as the Neue Palais at Darmstadt and Kranichstein in Hesse; Rosenau, Coburg; Balmoral and Windsor Castles and Osborne House in the British Isles; the Winter, Anitchkov and Aleksandr Palaces of Russia.\nFully hallmarked, the object bears the master's name in Russian, the Russian initials \"MP\" for Mikhail Perchin, one of Faberge's chief assistants – himself a creative artist in precious metals and a person of singular ability; the numeral \"56\" which is the Russian equivalent of fourteen karat gold, and the crossed anchors and sceptre device of the St. Petersburg assay office.\nThe overall height of the rock crystal Easter egg is 9 ¾ inches.  It is contained in the original case of velvet, lined in satin and stamped with Faberge's insignia.\nLillian T. Pratt\n[Small typescript note attached]\nNOTE: SEE PHOTOGRAPHS OF MINIATURES IN INSIDE OF CRYSTAL BALL OF RUSSIAN IMPERIAL EASTER EGG.  THE WRITING ON THE BACK OF THE PHOTOGRAPHS WHICH GIVES LOCATION OF THE RESIDENCES IS SAID TO BE THE HANDWRITING OF QUEEN MARY.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Osborne House, Isle of Wight, England, and on the right is Neues Palais, Darmstadt, Germany.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Schloss Wolfsgarten, near Darmstadt, Germany, and on the right is Windsor Castle, near London, England.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Anichkov Palace, St. Petersburg, Russia, and on the right is Winter Palace, St. Petersburg, Russia.\u003c/p\u003e","\u003cp\u003eDescription: \nDetail of two painted miniatures inside the Imperial Easter Egg with Revolving Miniatures. The location depicted on the left is Jagdschloss Kranichstein, Darmstadt, Germany, and on the right is Fortress Coburg (Veste Coburg), Germany.\u003c/p\u003e","\u003cp\u003eTranscription: \nPhotograph of the daughters of the Czar Nicholai II in a silver frame made by Faberge, the court jeweler. The blue cross signifies the order of St. Andrew. From the Alexander Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nLinen handkerchief with wide border of brown and blue elephants. Hemstitched and embroidered with monogram of Marie Feodorovna, Dowager Empress of Russia. From the Anitchkov Palace.\u003c/p\u003e","\u003cp\u003eTranscription: \nSolid gold column. Decorated with a fine wreath design in green gold with a laurel wreath carrying the suspended miniature of Nicholai II surmounted by a crown set with diamonds. Presented to the Czarina Alexandra Feodorovna on her birthday in 1907 by Nicholai the Second. Made by court jeweler Fabergé.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver plaque presented to the Dowager Empress Marie upon completion of a church built to commemorate the miraculous escape of the entire Royal Family, when the royal train was wrecked. Inventory no. 23677\u003c/p\u003e","\u003cp\u003eTranscription: \nIcon delicately painted on wood and mounted with a silver trapping set with seed pearls in Byzantine design, on a background of green enamel. \"Our Lord Jesus Christ Holding the Open Scriptures\" which read: \"The Commandment of the New Day - \"Love Thy Neighbor as Thyself\". It is backed with red velvet. It was made by the court jeweler Fabergé whose name it bears. It is marked with the figures \"88\" which denotes the highest quality of Russian silver. From the quarters of Nicholai II in the Alex. Palace, Tsarskoye Selo. Inventory no. 12-31-33.\u003c/p\u003e","\u003cp\u003eTranscription: \nSilver Teapot, bears the crown and monogram of Alexander III. Made in 1891 by Michelson of Copenhagen, Danish court jeweler. From the Gatchince Palace. No. 6136\u003c/p\u003e","\u003cp\u003eTranscription: \nHeart-shaped box, made by the famous court jeweller - Fabergé -\u003c/p\u003e","\u003cp\u003eTranscription: \n[Crown]\nMARLBOROUGH HOUSE\nS.W.1.\nDear Mrs. Pratt\nI am commanded by Queen Mary to convey to you Her Majesty's grateful thanks for the travelling clock which was a gift from Queen Victoria to Princess Alix.  The Queen very much interested to have it and touched that you should have given it to Her.  The Clock will be put among family relics.\nYou will have read of the terrible motor accident Her Majesty has been in.  I am thankful to say she is getting over the effects wonderfully well, it is amazing that the Queen was not seriously injured and indeed that no one was badly hurt.\nYrs sincerely \nConstance [?] Gaskell\nMay 27 39\u003c/p\u003e","\u003cp\u003eThis series is comprised of information about Pratt's estate after her death on July 21, 1947. The estate tax return outlines the extent of her entire estate, including the varied philanthropic bequests and funds she had arranged. Detailed inventories of the estate list her belongings by category. One of the paintings lists was annotated by a local appraiser, Virginia Clarke Taylor, denoting which paintings were \"antiques\" or not. Finally, there are many price tags from other non-Faberge purchases she made over the years. Most are from the New York department store B. Altman and Company, and detail her acquisitions of silver, lamps, fabric, vases, paintings, and other decorative items.\u003c/p\u003e\n","\u003cp\u003eThe series is divided into three subseries: Series 3.1: Tax Information, 1947; Series 3.2: Inventory, 1947, undated; Series 3.3: Other Furnishings, 1932, undated.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder 26583\nTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO \nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 149322\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nSpecial Order\nDept. 93\nOrder No. 159619\u003c/p\u003e\n","\u003cp\u003eTHIS TAG MUST BE ATTACHED TO\nMERCHANDISE WHEN DELIVERED TO\nB. ALTMAN \u0026amp; CO.\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nSALON of Antique Furniture\nAnd Works of Art\n#101/4062/D\nAntique Cork\nCut Glass\nComport [sic: Compote]\n$155.00\u003c/p\u003e","\u003cp\u003eTranscription: \nGallery of Antiques\nAnd Collectors Pieces\n#353/13122\nDescription\nSilhouette Painting on\nGlass\nPrice $65.00 [crossed through, replaced with $35.00]\nB. Altman \u0026amp; Co.\nFifth Avenue New York\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nS 1108\nFinest Milanese\n17th Century\n1 yd 31 in\nfor\n95.00 [crossed through]\n78.00 [crossed through]\u003c/p\u003e\n","\u003cp\u003e45 00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nTreasure Trove\nNo 16/640\nTerracotta Urn\nPrice 150.00 [crossed through]\n85.00\nB. Altman \u0026amp; Co.\nNew York\u003c/p\u003e\n","\u003cp\u003e[Back]\nB. Altman \u0026amp; Co. New York\n60\n25.00\nOver Treasure Trove tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/203\nBRONZE URN\nPrice 395.00 [crossed through]\n300.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] \nBack of Treasure Trove tag with B. Altman \u0026amp; Co. New York tag \n45.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 94/407\nBRONZE BUCKET\nPrice 350.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag with sticker B. Altman \u0026amp; Co. New York\n50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/14\nJADE LAMP W/ SHADE\nPrice 225.00 [crossed through]\n165 –\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 100/101\nLAPIS LAZULI LAMP \u0026amp; SHADE\nPrice 375.00 COMPLETE [crossed through]\n225.00 [crossed through]\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag no new price sticker\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/10211\nPOMPEIIAN BRONZE TRYPOD [sic]\nPrice 265.00 [crossed through]\n180.00 [crossed through]\n35.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag, Sale\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 139/12015\nPOMPEIIAN BRONZE VASE\nPrice 275.00 [crossed through]\n175.00\nB. Altman \u0026amp; Co. New York\n[Back] Treasure Trove tag [$45.00?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nBloor Darby Long Tom Vase over 100 years old\nB. Altman \u0026amp; Col. New York\n[Back] Altman Lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nOld Colebrookdale Vase made in England\nB. Altman \u0026amp; Co. New York\n[Back] Altman lamps tag\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. 13 /B – Odd\nPrice 14.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52A\nM 98\nB. ALTMAN \u0026amp; CO.\n63/2398\n[Sheff Repe ?] Candlesticks 1 Pr\nPrice [46.00?] P R\u003c/p\u003e","\u003cp\u003eTranscription: \nT 52-A\nB. ALTMAN \u0026amp; CO.\nS 93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nS93C\n191\n16\"\n11.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 97/5043\nColor\nPrice 82.50\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA4 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 2127\nPrice 70.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor 1745\nPrice 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nW5 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nSt. [?] No. 191\nColor Special\nPrice 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nA 93\nB. ALTMAN \u0026amp; CO. NEW YORK\nNo. 44718\nColor TL\nPrice 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A917\nColor 475.00 [lined through]\nPrice 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52\nR93\nB. ALTMAN \u0026amp; CO.\nNEW YORK\nNo. A922\nColor 750.00 [lined through]\nPrice 250.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT52-A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nT-52A\nB. ALTMAN \u0026amp; CO.\nC3 93\n896 TL\nD6199\nPrice 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/034F\nMade in London\nYear\nBy  Mug\nPrice 145.00 [lined through], 95.00 [lined through], 50.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7514\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 150.00 [lined through], 85.00, 42.50\n[Back]\nDEPT 75 X B\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7515\nMade In\nYear Geo III\nBy\nMustard Pot\nPrice 110.00 [lined through], 65.00 [lined through], 32.50\n[Back]\nDEPT 75 XB\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7524\nMade In London\nYear 1813\nBy\nTea Pot\nPrice 130.00 [lined through], 90.00 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7545\nMade in 1776\nYear Geo III\nBy\nBasket\nPrice 150.00 [lined through], 80.00 [?], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7547\nMade in London\nYear 1773\nBy\nSugar Basin\nPrice 120.00 [lined through], 75 [lined through], 40.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 301/7555\nMade in\nYear Geo III\nBy 1767\nPr. Candlesticks\nPrice 200.00 pr. [lined through], 120.00 [lined through], 60.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld Silver\nNo. 319/2182\nMade in\nYear\nBy Pair\nSheffield [lined through] Candlesticks\nPrice 275.00 [lined through], 200.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNEW YORK\nOld English Sheffield Plate\nNo. 321/140\nArticle Pr Adam Candlestks [sic]\nPeriod Sheffield\nPrice 425.00 [lined through], 210.00 [lined through], 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\nPrice 225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 written over \"B\"; 725 in margin]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nNo. 12/953\nLustre\n225.00 Pr.\nB. Altman \u0026amp; Co.\nNew York [7 and 725 written on front as well]\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nNo. 12/989\nCrystals\n$650.00 Pr.\nB. Altman \u0026amp; Co.\nNew York\n[Back]\nTreasure Trove\u003c/p\u003e","\u003cp\u003eTranscription: \nTreasure Trove\nNo. 97/5043\nCIG. BOX\nPrice 225.00 [lined through]\nB. Altman \u0026amp; Co.\nNew York\n[R829 written over company name at bottom]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n5203\n25.00 [lined through]; 5.40 [?] 2 Doz. [?]\nCluny \u0026amp; Bohemian Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n[company name written over with 1 Doz. [?]]\n10346\n85.00 [lined through]; 30.00\n[?]\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n1 Doz.\n10640\n28.00 [lined through]; 15.00 [?]\nBruges Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11370\n¬all\n85.00 [lined through]; 30.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n11696 1/2\n65.00 Dz. [lined through]; 24.00 Doz. [?]\nRt [?] Milan Lace\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK \n12875\n55.00 Dz. [lined through]; 18.00\nPt. [?] Milan\u003c/p\u003e","\u003cp\u003eTranscription: \nB. ALTMAN \u0026amp; CO.\nNEW YORK\n13698\n145.00 [lined through] all; 42.00\u003c/p\u003e","\u003cp\u003eTranscription: \nB. Altman \u0026amp; Co.\nNew York\n165.00 [lined through]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 150.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] B. Altman \u0026amp; Co.\nStyle\nColor\nSize\nPrice\n[Back] 145.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Miller \u0026amp; Rhoads\nRICHMOND, VA.\nNo. 393B2\nMfr. C1004 – C3004\nArticle Junior\nPrice Lamp Complete\n17.95\n[Back] W. \u0026amp; J. Sloane\n47th \u0026amp; 5th Ave\nN. Y. City\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front] Antiques\nReproductions\nDecoration\nLord \u0026amp; Taylor\nFIFTH AVENUE, NEW YORK\n[Back] CLASS E-10  \nSEA 0 \nLOT 2212\nFramed English Sampler\nPRICE $95.\nLength – Width – Height\u003c/p\u003e","\u003cp\u003eTranscription: \nOld Silver\nTray\nHall Marked\nLondon 1817\nWm. Elliott\nJ.E. CALDWELL \u0026amp; CO.\nPHILADELPHIA\u003c/p\u003e","\u003cp\u003eTranscription: \nSauce Boat\nHall Mark\nLondon 1763\nMakers\nJ. Parker \u0026amp; E. Wakelin\u003c/p\u003e","\u003cp\u003eTranscription: \nM106\nMcCutcheon's\nUpholstery Dept.\nS91\n35.00 [lined through]; 14.50\n37 over 5502over T.A.C.M.\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 236\nSize 2 7[?] x 5 \nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 236\nSize as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 237-E\nSize 2  9 x 5  4\nQual.\nPrice 86.00 [lined through]\n[Back]\nLot 237-E\nXS as \nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 243\nSize 2 10 x 5 6\nQual.\nPrice 235.00 [lined through]\n[Back]\nLot 243\nX S as \nSeason H [?]\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt 286\nSize 3 4 x 5 10\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 286\nX S as \nSeason S\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 295\nSize 2 2 x 5\nQual.\nPrice 125.00 [lined through]\n[Back]\nLot 295\nX S as\nSeason K\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D1215\nSize 9 x 11\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D. 1215\nSize as\nSeason M\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D.1234\nSize 9 x 11 5\nQual.\nPrice 3,500.00 [lined through]\n[Back]\nLot D.1234\nX S as\nSeason P\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1361\nSize 2 6 x 4\nQual.\nPrice 250.00 [lined through]\n[Back]\nLot D. 1361\nX S as\nSeason T\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. D. 1369\nSize 2 7 x 6 8\nQual.\nPrice 675.00 [lined through]\n[Back]\nLot D. 1369\nX S\nSeason W\u003c/p\u003e","\u003cp\u003eTranscription: \n1353\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\nand Richard Sibley\nEM9\u003c/p\u003e","\u003cp\u003eTranscription: \n1353B\nGeo. Silver\nPlatter\nLondon 1806\nWm. Burwash\n\u0026amp; Richard\nSibley\nRRM\u003c/p\u003e","\u003cp\u003eTranscription: \n4537\nPair\nOld Sheffield\nwine coolers\ncirca 1800\nRGG\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n307\nColor\nWidth\nPrice $28.50\n[Back]\n#427\u003c/p\u003e","\u003cp\u003eTranscription: \nKEA\nOld English\nSheffield Plate\nArticle pr. Candlesticks\nNumber 2398/L\nPeriod Circa\n1850\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\n10679\nGeo. III\n[lion \u0026amp; unicorn]\nAntique Sheffield Plate\nMade in\nENGLAND\nA.D. 1800\nBy\nWeight\n[Back]\n#10679\npr. three-light\nCandleabra [sic]\nFluted and \nGadroon border\n16 ½\"\u003c/p\u003e","\u003cp\u003eTranscription: \n301/7523\nGeo. III\nDesert [sic] Set\n18 K. + 18 F.\nPrice 340.00 [lined through]; 200.00 [lined through]; 100.00\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nN. 2886\n[Back]\nROYAL WORCESTER\u003c/p\u003e","\u003cp\u003eTranscription: \n2002\n$20.00 (b)\nGeorgian\nMA\u003c/p\u003e","\u003cp\u003eTranscription: \n[Front]\nPatt. 1244\nSize 8 10 x 11\nQual.\nPrice 1750.00 [lined through]; 500.00\n[Back]\nLot D1244\nX S as\nSeason R\u003c/p\u003e","\u003cp\u003eTranscription: \n[Tag 1 Front]\nNo. of Sale\nNo. of Rug 39032\nLength 20 feet 3 inches\nWidth 13 feet 4 inches\n[Tag 1 Back]\nTurfbaff\n[Tag 2 Front]\nSOLD\nName Pratt\nSalesman\nDate 2-26-32\u003c/p\u003e","\u003cp\u003eTranscription: \nS. \u0026amp; G. GUMP CO.\nSAN FRANCISCO, CAL.\u003c/p\u003e\n","\u003cp\u003eAntique French miniature musical watch and vanity box in the form of a butterfly. Exquisite variegated colored enamels have been imposed on the gold body.\nThis box was a gift from Louis XVI to the Chinese Emperor Chien Lung.\nFrom the collection of the late Mrs. Mabel L. Gump.\u003c/p\u003e\n","\u003cp\u003eS. \u0026amp; G. GUMP COMPANY\u003c/p\u003e","\u003cp\u003eThis series is comprised of the few clippings that were found in the collection. As none of these particular clippings were mentioned in the correspondence directly, it's possible that they did not originally belong to Pratt. The photographic copies of some of the articles were obviously made much later, but were retained as they may have been copies of articles Pratt once kept.\u003c/p\u003e","\u003cp\u003eTranscription: \nThalhimers cordially invite you to view this extraordinary exhibit of Royal Russian Treasures\u003c/p\u003e\n","\u003cp\u003eThis remarkable assemblage of Russian treasures were collected by two intrepid young Americans, Dr. Armand Hammer and his brother, Mr. Victor Hammer. It's the first important collection to come out of Russia since the Revolution. Be sure to see it. \u003c/p\u003e\n","\u003cp\u003eAll Articles are for Sale\nRoyal Crown Jeweled Objects\nIcons from the 15th Century\nAntique Fabrics and Brocades\nCopes and Chasubles\nSilver, Porcelain and Glassware\u003c/p\u003e\n","\u003cp\u003eFIFTH FLOOR\u003c/p\u003e\n","\u003cp\u003eThalhimers\u003c/p\u003e","\u003cp\u003eTranscription: \nCzarist Treasures to Be Seen In the Lobby of Jefferson Hotel\u003c/p\u003e\n","\u003cp\u003ePart of $500,000 Collection Is Removed From Thalhimer's Store Under Heavy Police Guard; Interesting Relics Attract Attention\u003c/p\u003e\n","\u003cp\u003eCzarist treasures, including personal possessions of Catherine the Great, a bracelet of \"Titiana,\" the young grand duchess murdered by the Bolshevists, and pictures of the Grand Duke Boris, \"handsomest officer of the Imperial Russian Army,\" were taken yesterday from the main collection at Thalhimer's and placed on exhibit in the lobby of the Jefferson Hotel. Although only a small portion of the 500,000 collections, which has been on exhibit at the store during the past week, and may be seen there through Thursdays, was moved to the hotel. Miss Alva Lowry, who is traveling with the exhibit, was provided police protection to ensure the safety of the relics.\n[...]\nThese, however, pale into insignificance beside the main collection, reigned over by the diamond-mounted miniatures of the last Czarevitch in its lapis lazuli Easter egg. The gold-mounted diamond-studded egg wtih its contents was the $50,000 Easter gift of the last Czar to the Czarina on Easter, 1912. \u003c/p\u003e\n","\u003cp\u003eWhen brought to The Times-Dispatch to be photographed, the $50,000 egg was guarded by Patrolman William H. Southward, who acted as escort for Miss Lowry on the trip to the Jefferson.\n[...]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK EVENING POST. TUESDAY, JANUARY 3, 1933\nRomanoff Jewels Exhibited Here\nArt treasures of former rulers of Russias on display today. (Picture on left is by Parade Studios, Inc.)\nROMANOFF GEMS, ART SHOWN HERE\nCollection of Dr. Armand Hammer Includes Ikons of 14th Century Russia\nBy AARON MARC STEIN\nThe largest collection of jewels and other personal possessions of the Romanoffs, formerly rulers of all the Russias, ever to be shown in America, has been placed on exhibition in the Georgian Room at Lord \u0026amp; Taylor's. The collection will have its private showing this afternoon and will be opened to the public tomorrow. \nIkons dating back to the fourteenth century, other sacred images in which each nimbus is incrusted with gems, furniture, porcelains, brocades and the fabulous jewels that were one of the oriental or medieval characteristics of the Russian Imperial Court, are included in the collection, formed by a young American doctor who searched village market places for relics of imperial glory. \nThe doctor was Armand Hammer, M.D. It was a very new M.D. conferred on him by the College of Physicians and Surgeons of Columbia University, and the young physician set out on an errand of adventure and mercy. He organized a relief expedition which reached Russia in 1921. Civil war had hardly ended, and in the Urals Dr. Hammer found famine sweeping the country.\n[…]\nAnother of these eggs is of lapis lazuli covered with an elaborate gold filligree. Approximately the size of an ostrich egg, it is lavishly jeweled and set with a square flat diamond into which is cut the monogram of the Empress and the date. This egg was the gift of the late Czar to his wife. When opened this egg contains a double eagle set with diamonds and a miniature portrait of the Czarevitch, done in the full round. The bust portrait of the little Prince in his sailor suit is handled in a naturalistically life-like manner. \n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nNEW YORK HERALD TRIBUNE, TUESDAY, MARCH 3, 1936\nGrand Duchess Victoria Dead; Lived as the 'Empress of Russia'\nSister of Queen Marie and Cousin of George V, Victim of Stroke Near Munich \nBy The United Press\nMUNICH, Germany, March 2.— Grand Duchess Victoria Feodorovna, wife of Grand Duke Cyril of Russia, head of the Romanoff family and self-described Czar of All the Russias, died today of an apoplectic stroke at the castle of her daughter, Princess Maria von Leiningen, in Amorbach, Lower Franconia. She was fifty-nine years old.\nThe Grand Duchess, a sister or Dowager Queen Marie of Rumania and a first cousin of the late King George V of England, will be buried in Coburg, Germany, where she and the Grand Duke have maintained a court since 1924. King Carol of Rumania and representatives of King Edward VIII and of Marie, the Queen Mother of Jugoslavia, will attend.\nTen days ago the Grand Duchess was stricken with pneumonia when she went to the bedside of her daughter, who had just given birth to a son. As soon as her condition became grave her three sisters, the Dowager Queen Marie; the Princess of Hohenlohe-Langenburg, and the Infanta Beatriz of Bourbon-Orleans, hastened to Amorbach.\nThe Grand Duke Cyril, a cousin of the late Czar Nicholas II, who was on a holiday in his retreat in Brittany, also rushed back to Germany, arriving soon before his wife's death. He telegraphed the news to the various courts of Europe. Today the court of Jugoslavia, by decree of King Peter II, ordered a month of mourning.\n[…]\u003c/p\u003e","\u003cp\u003eTranscription: \nTHE NEW YORK SUN, SATURDAY, OCTOBER 16, 1937\nANTIQUES\nFaberge Royal Craftsman\nExamples of His Work Include Silver Service and Translucent Enamels.\nBy ETHEL WALTON EVERETT.\nA sumptuous silver tea and coffee service by Carl G. Faberge, the Russian Court jeweler, made for the Grand Duchess Alexandra Josephovna, has just been put on exhibition in the Schaffer Collection of Russia Imperial Art Treasures.\nCommissioned as a silver-wedding anniversary present, it bears the initials \"A. J.\" of the Grand Duchess and engraved facsimile auto graphs, \"Olga,\" \"Vera\" and \"Dmitri.\" In addition to samovar, drip bowl and rounded, rectangular tray; coffee and tea urns, sugar container and creamer, with large oval tray; matching items include one dozen spoons, tea strainer, lemon fork, tea scoop and sugar tongs. Every piece is of extreme grace and beauty, difficult to achieve with the classical design used.\nThe collection has a comprehensive showing of Faberge's translucent enamels, with examples of his delicate tones of palest almond green, claire de lune, lustrous \"pearly white,\" lavender, and a pale, bright color exactly like the polished birchwood for which Russia is famous. The enamel is combined with chased and chiseled gold and silver, in photograph frames of various shapes, cigarette boxes, candlesticks and other pieces, many set with jewels, and the majority having his signature.\nOne of the last named is a cigarette box of heavy polished gold, with translucent enamel of pale peacock blue, having narrow gold borders, ornamented with a delicate leaf and flower design in gem-like emerald green and ruby red. Deep royal blue and pale salmon pink are used for other cigarette boxes.\nAmong the larger enameled pieces are a pair of candlesticks claire de lune, on silver, with gold tops, bases and feet, richly chiseled, and with delicate gold swags, set with jewels. The same claire de lune enamel and harmonizing swag design appear on the handle of gold seal with the crown and monogram \"TH\" of the Grand Duchess Tatiana, with six diamonds set in the green and yellow gold decoration.\nThe seals are varied in character. Bearing the crown and \"AH\" monograms of the Czar, is one with handle of plain, polished ivory, with a very simple design in the gold band which holds the dark gray agate seal. Another is an attractive little cylinder of pure white polished crystal, with engraved crown and \"NB\" initials. The ornamentation is like a guard ring, a band of small, square rubies, between two bands of tiny diamonds. \n[Image of candlestick with enamel and gold mountings. Caption:]\nOne of a pair of candlesticks by Faberge of pale blue translucent enamel on silver with gold mountings shown by Schaffer Galleries.\n[Image of silver samovar]\u003c/p\u003e","\u003cp\u003eThis series is comprised of items related to the Pratt collection that were transferred from the Curatorial department. Items found in the object records include early photographs of items from both Hammer Galleries and the Schaffer Collection, photographs of the Russian imperial family, as well as a statement of account from Hammer and the first complete list of the collection after its arrival at the museum in 1947.\u003c/p\u003e","\u003cp\u003eDescription: \nIn a publicity shot that was circulated to newspapers, Rosamond Fulmer leans on a counter behind ten imperial Easter eggs on display at Hammer Galleries. Several icons can be seen hanging on the wall to the right behind Fulmer.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver triptych icon with an engraved inscription within a laurel crown. Translated from the Russian, it reads: \"Blessing of the Preobrazhenskii Regiment. June 3rd, 1884. A new commandment I give unto you the ye love one another as I loved you. (St. John, Chapter 13, Verse 34)\".\u003c/p\u003e","\u003cp\u003eDescription: \nCover of silver triptych icon with a Greek cross surrounded by finely detailed leaves.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver triptych icon featuring paintings of the Transfiguration in the center, St. Elizabeth standing in the left side panel, and St. Sergius of Radonezh standing in the right side panel. Each panel is surrounded by an elaborate patterned border.\u003c/p\u003e","\u003cp\u003eDescription: \nTriangular silver picture frame with geometric enamel background. Central circular cut-out is bordered in pearls and features an image of Alexandra Feodorovna.\u003c/p\u003e","\u003cp\u003eDescription: \nBack of silver diptych icon. One side has an engraved inscription that indicates that it was presented to Nicholas II and Empress Alexandra by courtiers. The other side features an elaborate scroll work design and studded with ten turquoise, garnets, and pearls.\u003c/p\u003e","\u003cp\u003eDescription: \nSilver diptych icon featuring paintings of Princess St. Alexandra on the left and St. Nicholas the Miracle Worker on the right. Each painting is bordered with pearls and the top of the icon is curved like an arch.\u003c/p\u003e","\u003cp\u003eDescription: \nRock crystal parasol handle with the head of a dog etched and enameled inside the crystal ball. The base of the handle is studded with small gemstones.\u003c/p\u003e","\u003cp\u003eTranscription: \nAKRON STUDIOS\n232 EAST 42nd STREET\nNEW YORK CITY\u003c/p\u003e\n","\u003cp\u003eTO Russian Imperial Treasures\n15 W 50th St\nAtt Mr Schaefer [sic]\u003c/p\u003e\n","\u003cp\u003ePhotographs - Do Not Bend\u003c/p\u003e","\u003cp\u003eDescription: \nSmall pencil drawing of a decorative stand for the Red Cross Easter Egg. It is unknown who the artist is, but the drawing does resemble the gold stand currently used by the museum to hold the egg. The rusted imprint from a paperclip can be seen at the top left.\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eTranscription: \n[In process]\u003c/p\u003e","\u003cp\u003eDescription: \nBlack-and-white postcard featuring a single image of the Rock Crystal Easter Egg.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of 29 members of the Russian Imperial Romanov family and royal relatives from Denmark, Sweden, Norway, England, and Greece on the steps of the palace at Fredensborg, Denmark. Seven children, all dressed in white, appear in the first row, with 22 adults behind them.\u003c/p\u003e","\u003cp\u003eTranscription: \nFamily Group taken in Bernstorff, Denmark, after the death of Queen Louisa of Denmark, in 1898.\u003c/p\u003e\n","\u003cp\u003e1. Louise Princess of Sweden and Norway, wife of Crown Prince Frederick of Denmark\n2. Crown Prince Frederick of Denmark, later King Frederick VIII.\n3. Princess Ingeborg of Denmark.\n4. Queen Alexandra of England.\n5. King George of Greece.\n6. King Christian IX of Denmark.\n7. Princess Thyra of Denmark.\n8. Dowager Empress Maria Feodorovna of Russia.\n9. Prince Johann of Glucksburg (Uncle Hans).\n10. Grand Duchess Olga Alexandrovna, sister of Nicholas II.\n11. Prince Peter of Oldenburg, husband of Duchess Olga.\n12. Prince Nicholas of Greece.\n13. Empress Alexandra Feodorovna.\u003c/p\u003e\n","\u003cp\u003e[Hand drawn and numbered outlines of the heads of all the people in the photograph]\u003c/p\u003e\n","\u003cp\u003e14. Princess Victoria of England.\n15. Grand Duke Michael, brother of Nicholas II.\n16. Emperor Nicholas II of Russia.\n17. Prince Harold of Denmark.\n18. King Edward VII of England.\n19. Queen Maud of Norway.\n20. King Haakon VII of Norway.\n21. Princess Alexandrina, nee Princess of Mecklenbourg (Present Queen of Denmark).\n22. Christian, son of the Crown Prince of Denmark. (Present King of Denmark).\n23. \n24. \n25. Grand Duchess Tatiana Nlcolaievna\n26. Grand Duchess Olga Nicolaievna.\n28. Prince Aag of Denmark.\n29. Princess Dagmara of Denmark.\u003c/p\u003e","\u003cp\u003eDescription: \nGroup portrait of the Russian Imperial Romanov family on the desk of their royal yacht \"Standart\". Empress Alexandra Feodorovna sits in the center with Prince Alexei on her lap. Her four daughers, Grand Duchesses Olga, Tatiana, Maria, and Anastasia, and her husband, Emperor Nicholas II, stand behind her.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits in a high-backed chair outdoors in a garden-like setting. Wearing a large hat and formal dress, she looks at the camera directly, with one hand in her lap and the other with elbow bent and fingers touching her right cheek.\u003c/p\u003e","\u003cp\u003eDescription: \nPortait of the Emperor Nicholas II and Prince Alexei seated next to each other on the deck of the royal yacht \"Standart\". Nicholas holds a newspaper in his lap as Alexei seems to squint into the sun.\u003c/p\u003e","\u003cp\u003eDescription: \nBlurry portrait of the Empress Alexandra Feodorovna, who sits on a sofa indoors. Wearing a high-necked shirt and long skirt, she looks away from the camera towards the floor, with her hands clasped in her lap. Behind her, she is surrounded by picture frames, small vases, and flowers, on shelves that continue well above her head.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children bend down to peer at Fabergé eggs sitting on a table. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children peer into the open top of the Imperial Tsarevich Easter Egg. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé imperial eggs.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl tries on a jewelled ring as a young boy looks on. Four Fabergé eggs are on the table in front of them. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a long-handled narrow brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl smiles as a museum guard presents her with Faberge's rabbit pitcher. She holds another open Fabergé egg in her hands while another guard looks on. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children look at one another while their hands rest on a table with two Fabergé imperial eggs on it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young boy stares at Fabergé's Imperial Easter Egg with Revolving Miniatures, which is set on a table right in front of him. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl holds the vase of a Fabergé tulip in her hands while a young boy looks on. Other Fabergé pieces, including the Imperial Red Cross Easter Egg, sits on the same table behind the flower. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl opens an egg-shaped ring box which contains a jewelled ring within it. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nMuseum staffer Henrietta Near uses a short-handled wide brush to clean Fabergé flowers in an exhibition case.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl dangles a Fabergé miniature Easter egg pendant on a chain over a table while a young boy touches the egg with his index finger. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nA young girl rests her gloved hands on the edge of a display case filled with Fabergé artworks as a young boy to her left watches and smiles. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e","\u003cp\u003eDescription: \nTwo young children stare at three Fabergé eggs, including the Imperial Tsarevich Easter Egg and Imperial Easter Egg with Revolving Miniatures, which are all set on a pedestal at eye level inches away from their faces. In the 1950s and 1960s, the museum regularly set up publicity shots with children that allowed them to take a closer look at (and often touch!) the Fabergé artworks.\u003c/p\u003e"]}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_8_c02_c04_c01_c02"}},{"id":"virmu_repositories_2_resources_272_c06_c03","type":"File","attributes":{"title":"Miscellaneous Publications","breadcrumbs":{"id":"https://arvasarchive.org/catalog/virmu_repositories_2_resources_272_c06_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"virmu_repositories_2_resources_272_c06_c03","ref_ssm":["virmu_repositories_2_resources_272_c06_c03"],"id":"virmu_repositories_2_resources_272_c06_c03","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272_c06","parent_ssi":"virmu_repositories_2_resources_272_c06","parent_ssim":["virmu_repositories_2_resources_272","virmu_repositories_2_resources_272_c06"],"parent_ids_ssim":["virmu_repositories_2_resources_272","virmu_repositories_2_resources_272_c06"],"parent_unittitles_ssm":["Records of the Home for Needy Confederate Women (SC-23)","Series 6: Other Records"],"parent_unittitles_tesim":["Records of the Home for Needy Confederate Women (SC-23)","Series 6: Other Records"],"text":["Records of the Home for Needy Confederate Women (SC-23)","Series 6: Other Records","Miscellaneous Publications","English","box SC-23 Box 2","folder Folder 22","Item SC23.06.0.003"],"title_filing_ssi":"Miscellaneous Publications","title_ssm":["Miscellaneous Publications"],"title_tesim":["Miscellaneous Publications"],"unitdate_other_ssim":["1924-1978, undated"],"normalized_date_ssm":["1924/1978"],"normalized_title_ssm":["Miscellaneous Publications"],"component_level_isim":[2],"repository_ssim":["Virginia Museum of Fine Arts"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23)"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":70,"parent_access_restrict_tesm":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance."],"parent_access_terms_tesm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"date_range_isim":[1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978],"language_ssim":["English"],"containers_ssim":["box SC-23 Box 2","folder Folder 22","Item SC23.06.0.003"],"_nest_path_":"/components#5/components#2","timestamp":"2026-05-21T03:05:13.157Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"virmu_repositories_2_resources_272","ead_ssi":"virmu_repositories_2_resources_272","_root_":"virmu_repositories_2_resources_272","_nest_parent_":"virmu_repositories_2_resources_272","ead_source_url_ssi":"data/oai/VMFA/repositories_2_resources_272.xml","aspace_url_ssi":"https://archives.vmfa.museum/repositories/2/resources/272","title_filing_ssi":"Home for Needy Confederate Women (SC-23)","title_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"title_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"unitdate_ssm":["1898-2007"],"unitdate_inclusive_ssm":["1898-2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC-23","/repositories/2/resources/272"],"text":["SC-23","/repositories/2/resources/272","Records of the Home for Needy Confederate Women (SC-23)","The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.","The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1 Correspondence, 1924-1997, undated Series 2 Administrative Files, 1898-1997, undated Series 3 Resident and Application Files, 1914-1998 Series 4 Financial Records, 1908-1993 Series 5 Property Files, 1924-1989, undated Series 6 Other Records, 1910-2007, undated","Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418","The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source:  History of the VMFA Grounds","The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.","In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.","This series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.","This series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents.","This series is comprised of files regarding residents and/or applicants to the Home. Typical files include the application, correspondence, and papers pertaining to her assets, as well as basic information, Confederate lineage, next of kin, and medical files.","This series is comprised of financial files including audit reports, annual and quarterly reports from financial institutions involved with the Home's endowment fund and investments, files pertaining to stocks/bonds, Board resolutions regarding purchases and sales, ledgers, bills, receipts, statements, and reports to state agencies. Taken together, these records reveal the Home's frequently fragile financial situation.","This series documents the various real estate holdings of the Home, including the buildings housing the Home itself as well as those acquired through residents of the Home. Series 3 also includes information relating to properties turned over to the Home by residents upon admittance.","This series is comprised of various other materials such as newspaper articles, photographs, publications, and other ephemera.","The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.","The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.","Virginia Museum of Fine Arts Archives","English \n.    "],"unitid_tesim":["SC-23","/repositories/2/resources/272"],"normalized_title_ssm":["Records of the Home for Needy Confederate Women (SC-23)"],"collection_title_tesim":["Records of the Home for Needy Confederate Women (SC-23)"],"collection_ssim":["Records of the Home for Needy Confederate Women (SC-23)"],"repository_ssm":["Virginia Museum of Fine Arts"],"repository_ssim":["Virginia Museum of Fine Arts"],"access_terms_ssm":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"has_online_content_ssim":["false"],"extent_ssm":["2.5 Linear Feet 2 boxes; 68 folders"],"extent_tesim":["2.5 Linear Feet 2 boxes; 68 folders"],"date_range_isim":[1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is minimally processed. Requests to perform research must be submitted to the VMFA Archives at least one business day in advance."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into six series. Correspondence files are arranged chronologically.\u003c/p\u003e","\u003clist type=\"deflist\"\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 1\u003c/label\u003e\n        \u003citem\u003eCorrespondence, 1924-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 2\u003c/label\u003e\n        \u003citem\u003eAdministrative Files, 1898-1997, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 3\u003c/label\u003e\n        \u003citem\u003eResident and Application Files, 1914-1998\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 4\u003c/label\u003e\n        \u003citem\u003eFinancial Records, 1908-1993\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 5\u003c/label\u003e\n        \u003citem\u003eProperty Files, 1924-1989, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n      \u003cdefitem\u003e\n        \u003clabel\u003eSeries 6\u003c/label\u003e\n        \u003citem\u003eOther Records, 1910-2007, undated\u003c/item\u003e\n      \u003c/defitem\u003e\n    \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into six series. Correspondence files are arranged chronologically.","Series 1 Correspondence, 1924-1997, undated Series 2 Administrative Files, 1898-1997, undated Series 3 Resident and Application Files, 1914-1998 Series 4 Financial Records, 1908-1993 Series 5 Property Files, 1924-1989, undated Series 6 Other Records, 1910-2007, undated"],"bibliography_html_tesm":["\u003cbibref\u003eHome for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092\u003c/bibref\u003e","\u003cbibref\u003eRoll of Needy Confederate Women, 1915-1924, Coll. APA 194\u003c/bibref\u003e","\u003cbibref\u003ePension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418\u003c/bibref\u003e"],"bibliography_heading_ssm":["Related Materials - Library of Virginia"],"bibliography_tesim":["Home for Needy Confederate Women (Richmond, Va.) Records, 1862-1997, Coll. 34092","Roll of Needy Confederate Women, 1915-1924, Coll. APA 194","Pension Applications for the Relief of Needy Confederate Women, 1915-1967, Coll. 26418"],"bioghist_html_tesm":["\u003cp\u003eThe monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.\u003c/p\u003e\n","\u003cp\u003eFunded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.\u003c/p\u003e\n","\u003cp\u003eSource: \u003ca href=\"https://www.vmfa.museum/about/grounds-history/\"\u003eHistory of the VMFA Grounds\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The monumental limestone building on the west boundary of the present Virginia Museum of Fine Arts' grounds was built in 1932 as a residence for destitute female relatives of Confederate veterans. In operation for over fifty years, the home was closed by its board in 1989. Assuming ownership of the building, the Commonwealth of Virginia designated it as a memorial to the women of the South and transferred its care to VMFA. Today, renovated and renamed the Stan and Dorothy Pauley Center, it houses museum offices and meeting rooms as well as the headquarters of the Virginia Association of Museums.","Funded through private donations and state support, the Home for Confederate Women was designed by architect Merrill Lee, who was inspired by the neoclassical lines and motifs of the White House. Its soaring ionic portico faces Sheppard Street.","Source:  History of the VMFA Grounds"],"custodhist_html_tesm":["\u003cp\u003eThe collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["The collection was donated in August 2017 by Mason Montague Bavin, goddaughter and executor of the estate of Janet Roy Nunnally Burhans, who was the last President of the Home for Needy Confederate Women. The Home had been founded by her grandmother, Elizabeth Lyne Hoskins Montague. Burhans was the third President of the organization, serving after her mother, Janet Montague Nunnally, and her grandmother."],"prefercite_html_tesm":["\u003cp\u003eRecords of the Home for Needy Confederate Women (SC-23). VMFA Archives, Richmond, Virginia.\u003c/p\u003e"],"prefercite_tesim":["Records of the Home for Needy Confederate Women (SC-23). VMFA Archives, Richmond, Virginia."],"processinfo_html_tesm":["\u003cp\u003eIn general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["In general, during processing, all publications are removed and added to the VMFA Library's holdings and original newspaper clippings are photocopied, with identifiers transferred, and then destroyed. Original folder titles are retained, when provided."],"scopecontent_html_tesm":["\u003cp\u003eThis series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.\u003c/p\u003e","\u003cp\u003eThis series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents.\u003c/p\u003e","\u003cp\u003eThis series is comprised of files regarding residents and/or applicants to the Home. Typical files include the application, correspondence, and papers pertaining to her assets, as well as basic information, Confederate lineage, next of kin, and medical files.\u003c/p\u003e","\u003cp\u003eThis series is comprised of financial files including audit reports, annual and quarterly reports from financial institutions involved with the Home's endowment fund and investments, files pertaining to stocks/bonds, Board resolutions regarding purchases and sales, ledgers, bills, receipts, statements, and reports to state agencies. Taken together, these records reveal the Home's frequently fragile financial situation.\u003c/p\u003e","\u003cp\u003eThis series documents the various real estate holdings of the Home, including the buildings housing the Home itself as well as those acquired through residents of the Home. Series 3 also includes information relating to properties turned over to the Home by residents upon admittance.\u003c/p\u003e","\u003cp\u003eThis series is comprised of various other materials such as newspaper articles, photographs, publications, and other ephemera.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This series is comprised of correspondence, including letters regarding solicitations, donations, visits, interest in the Home's welfare, and updates on efforts of members of the Board.","This series is comprised of meeting minutes, policies, history of the Home, estate files, registers, dealings with state agencies, and the  closing of the Home in 1989 and relocation of the residents.","This series is comprised of files regarding residents and/or applicants to the Home. Typical files include the application, correspondence, and papers pertaining to her assets, as well as basic information, Confederate lineage, next of kin, and medical files.","This series is comprised of financial files including audit reports, annual and quarterly reports from financial institutions involved with the Home's endowment fund and investments, files pertaining to stocks/bonds, Board resolutions regarding purchases and sales, ledgers, bills, receipts, statements, and reports to state agencies. Taken together, these records reveal the Home's frequently fragile financial situation.","This series documents the various real estate holdings of the Home, including the buildings housing the Home itself as well as those acquired through residents of the Home. Series 3 also includes information relating to properties turned over to the Home by residents upon admittance.","This series is comprised of various other materials such as newspaper articles, photographs, publications, and other ephemera."],"userestrict_html_tesm":["\u003cp\u003eThe collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is subject to all copyright laws. Transmission or reproduction of materials protected by copyright, beyond that allowed by fair use, requires the researcher to obtain permission of copyright holders."],"abstract_html_tesm":["\u003cabstract id=\"aspace_990af6858b4c3924898d87f60438ef91\"\u003eThe collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. The collection includes administrative files, applicant and resident files, and financial files, among other related ephemera.\u003c/abstract\u003e"],"abstract_tesim":["The collections documents the administration of the Home for Needy Confederate Women, a large residential building for destitute female relatives of Confederate veterans for over 50 years. 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